artograph

A NEWNMEDIA™ PUBLICATION

2021 JAN-FEB | VOL 03 | ISS 01

A BI-MONTHLY, BILINGUAL E-MAGAZINE FOCUSING ON ARTS | PUBLISHED BY NEWNMEDIA™ FROM KERALA, INDIA | 2021 JAN-FEB VOLUME 03 ISSUE 01 | PAGES: 40 | HTTPS://ARTOGRAPH.NEWNMEDIA.IN

Frames
that matter
In conversation with veteran dance
photographer Avinash Pasricha.

The formidable actor

Sreevalsan Thiyyadi discusses the illustrious
career of Kathakali exponent Kalamandalam
Vasu Pisharody, the recipient of the KSNA
fellowship 2020.

Making it happen
A write-up on the 2021 edition of the ‘Evam’
festival, one of the noted classical dance
festivals in the country.

An ode to Sunil Kothari

A journey through the life of art historian and
scholar Sunil Kothari, through his words.
 CONTENTS
2021 JAN-FEB | VOL 03 | ISS 01 02

Vol 03 Iss 01
The formidable actor 06
Sreevalsan Thiyyadi

WATCH OUT
RAADHAKALPA DANCE COMPANY
An ode to Sunil Kothari 10
Ashwathi P.G.
Guru Kelucharan Mohapatra
One of the shots from a live stage show
Frames that matter 12
Hareesh N. Nampoothiri
featured as the cover of a small booklet
on the dancer by Roli Books in 2001. Grabbing the attention 19
PHOTO: AVINASH PASRICHA Priyanka B.

STAGE
SHANMUKHADAS KALAMANDALAM
Making it happen 26
Hareesh N. Nampoothiri

നാടകാന്തം കവിത്വം 34
Theertha E. Poduval

TALKING FRAMES
SHALINI P.S.
A NEWNMEDIA™ PUBLICATION
LEAD PHOTOGRAPHY: HAREE FOTOGRAFIE
DESIGN & LAYOUT: NEWNMEDIA™

SHARED UNDER
CC BY-NC-ND 4.0

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RESERVED TO RESPECTIVE OWNERS. THE CC LICENSE IS VALID NECESSARILY REFLECT THE OFFICIAL POLICY OR POSITION OF THE MAGAZINE.
ONLY FOR THE E-MAGAZINE IN ITS EXACT FORM.

CONTRIBUTORS EDITORIAL TEAM WEBSITE

https://artograph.newnmedia.in
TEXTS CHIEF EDITOR
Ashwathi P.G. Hareesh N. Nampoothiri FACEBOOK
https://fb.me/artograph.mag
Priyanka B. ASSOCIATE EDITOR
Sreevalsan Thiyyadi Priyanka B. INSTAGRAM
https://instagr.am/artograph.mag
Theertha E. Poduval
MEMBERS
PHOTOS SUBSCRIBE
Meera Sreenarayanan https://agsub.newnmedia.in
Amit Pasricha, Avinash Pasricha Navya Raj
Innee Singh, Jayadevan S.P. FEEDBACK
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Pawan, Rajan Karimoola
Sejas Mistry, Sreedhar Vaidya Vani Sankar
E-MAIL
Wikipedia/Augustus Binu artograph.mag@newnmedia.in
03 EDITORIAL
2021 JAN-FEB | VOL 03 | ISS 01
artograph

Running another lap

I
t’s yet another year and one more volume completed. Though we
all faced the pandemic crisis, last year wasn’t that bad, as far as
Artograph is concerned. The magazine received the ISSN number
and also got approved in Google Play Books. Both add a lot of value to
the publication, and the authors also get the benefit of the platform.
And for the readers, it’s an assurance that we will not be compromis-
ing on the content or quality of the presentation.
Moving ahead, we plan to take the scope of the magazine further. Moving ahead, we plan
One aspect would be to have a research section, allowing to publish
academic articles and papers. We will be adding more pages to the to take the scope of
website, giving a better representation of the contributing authors. the magazine further.
However, if the magazine is not reaching a wider audience, all these One aspect would be to
efforts hardly make any sense. One humble request to everyone is
to help the magazine reach more people, especially those who love
have a research section,
Indian classical arts. allowing to publish
While the magazine managed to do well, it wasn’t very easy for those academic articles
who worked behind. And it’s only because of the generous support and papers.
from the editorial team, the contributing authors, and photographers
it became possible. And of course, all those readers who took the mag-
azine seriously and supported it during the period. Thank you all.
We look forward to yet another volume, hoping for all your support
in the coming year and wishing you all a great time reading the Arto-
graph. ●

Hareesh N. Nampoothiri

EDITORIAL TEAM

Priyanka B.
Associate Editor
Meera Sreenarayanan Navya Raj

Sneha Sasikumar Vani Sankar

artograph
MARCHING AHEAD (JAN - FEB)
After completing six issues in the first volume,
Artograph stepped into the second year of its
publication. The first-anniversary issue covered
flagship events like the Nishagandhi Dance Festival
of Kerala and 'Dancejathre' of the Shambhavi
School of Dance. The interview with Guru Vyjayanthi
Kashi and her daughter-disciple Prateeksha
Kashi was another highlight. The dance journey
of Guru C.V. Chandrasekhar and the stigmas
faced by artists became topics for discussion.
'Talking Frames', the column for photographers
became a dedicated segment. With freshness
in look and feel attributed to the new layout, the
total number of pages crossed the thirty mark.
A MILESTONE: ISSN National Centre, the
nodal agency for assigning International
Standard Serial Number for print and online
publications in India, gives Artograph the
serial number 2582-6662.
BEING LIVE: 'Previously in Artograph', the
segment featuring a write-up from past
issues of the magazine started.
NEW FRONTIERS: The publication got the
approval of Google Play Books, making
the magazine available across Google Play
Books and Google Books in addition to
Issuu and Scribd.
Visibility is the total number of impressions
that each issue of the magazine received
across different platforms, as of 2020 Feb 28.
Avg. visibility for this year is 1579.
TIMELINE
2021 JAN-FEB | VOL 03 | ISS 01 04
RIGHT ON TRACK (JUL - AUG)
Notable Kathakali events that went
online post the pandemic got discussed
in detail. Articles on Guru G. Venu,
Alarmel Valli and interview with dance
vocalist Bhagyalakshmi Guruvayur
were the highlights of this issue.
Musings on Navarasa Sadhana acting
workshop and everyday dance spaces
were insightful. For the first time, the
number of pages touched forty.
FIGHTING THE ODDS (MAR - APR)
The nationwide lockdown imposed on the 23rd
of March 2020, halted all public performances.
The artists took to virtual spaces, and this issue
featured a handful of such events streamed across
various online platforms. The revival of Desi
Mohiniyattam by Guru Nirmala Paniker got explored.
Interview with Margi Vijayakumar, humorous
anecdotes from Kathakali stages, and the review
of 'Subhadraharanam' play came as a delight to
Kathakali enthusiasts. Joining the fight against the
pandemic, Sreedevi N. Nampoothiry discussed
safety protocols for artists, on and off the stage.
05 TIMELINE
2021 JAN-FEB | VOL 03 | ISS 01
GAINING MOMENTUM (MAY - JUN)
Journey through the lives of Guru
V. Jayarama Rao and Malavika
Sarukkai, an in-depth analysis of the
first online international seminar on
Kuchipudi hosted by the Shambhavi
School of Dance - it couldn't have
got better than this. Adding to the
usual reports were write-ups on stage
lighting and 'Nritha Samanvayam',
the Bharatanatyam-Kuchipudi
Jugalbandi. 'Watch Out', a segment
featuring YouTube channels that
promote classical dance and music-
related content was introduced
from this issue onwards.
artograph
MOURNING LOSSES (SEP - OCT)
Many artists left us in the meantime, and the issue paid
obeisance to Kapila Vatsyayan and Shobha Naidu. Insight into
the lives of Guru Nirmala Paniker and Mathoor Govindankutty,
review on 'Prakriti - The Nature' dance festival and an
overview of 'Lāsya Mukharika', the three-month-long virtual
conversation series on Mohiniyattam brought liveliness.
ODE TO LEGACY (NOV - DEC)
The last edition in volume two
celebrated the legacy of deceased
maestros Melattur S. Natarajan
and T.N. Krishnan. Conversation
with Carnatic vocalist R. Vidhu
was a refreshing read. Konark
Dance Festival, T.M. Krishna's
experimentation with Sree Narayana
Guru poetry and Kapila Venu's
'Sreekrishnacharitham' Nangiar
Koothu attempt received a fair
representation. With the number
of followers crossing over the
thousand mark, Artograph proudly
steps into a new year of its journey.
TEXT: PRIYANKA B. / GRAPHICS: HAREESH N.
artograph INSPIRE
2021 JAN-FEB | VOL 03 | ISS 01 06

actor
The formidable

SREEVALSAN THIYYADI

I
n one of his masterpiece roles, Kalamandalam Vasu Pisharody Kalamandalam Vasu Pisharody presents
Bahuka in 'Nalacharitham Moonnam Divasam'
used to profile a sequence of key mudras in ways that still stand Kathakali during a staging organized by
distinct from other maestros of Kathakali. Enacting the protago- Kaliyarangu in 2009 Nov.
nist in the play ‘Nalacharitham Nalam Divasam’, his Bahuka would PHOTO: HAREE FOTOGRAFIE

not spread out his hands while throwing a set of questions laden with
self-deprecating sarcasm. On the face of it, all the posers are for the
lady messenger from his wife. Deeply inside, they aim at Damayanti,
who he believes is now poised for a second marriage amid rumours
of Nala having vanished virtually from the earth.
“Olivil undo illayo vaan…” (Is he in the hide or not?) is a stanza amid an If Kathakali has been
ensuing gestural conversation based on background songs. Capitalis- a spinoff from its
ing the dramatic value of the situation, the trend on stage is to unfold
antecedent Kutiyattam
the arms to a frame beyond the conventional norms while essaying
queries such as ‘undo’ and ‘illayo’. “The technique does have an added known for the signature
charm, but I will not resort to it...”, admits Vasu Pisharody. Instead, the thrust of the eyes
artist goes by the essence of his style built on the economy of space. and limited use of the
By employing less area, hand-gestures of Vasu Pisharody often look space, Kalamandalam
much taut than that of his contemporaries, or even the forerunners
Vasu Pisharody best
of the body-centric Kalluvazhi school. In the above instance from
‘Nalacharitham’, the restrained conduct accentuates the gloom of exemplifies these.
Bahuka. Leaving flamboyance, it continues to highlight the intro-
spection of the character. In Kathakali parlance, the ‘sthayi bhava’
(standing mood of a character) is kept intact.
Restrained conduct
If Kathakali has been a spinoff from its antecedent Kutiyattam known
for the signature thrust of the eyes and limited use of the space, Vasu SREEVALSAN THIYYADI is a cultural enthu-
siast and the launching editor of India
Pisharody best exemplifies these. Several styles across its homeland Art Review, a dedicated digital journal on
arts and culture. A freelance writer for
Kerala have enriched Kathakali since its birth four centuries ago as a more than two decades as a journalist,
dance-drama. Among these, the Kaplingadan stream, which acquired he follows the cultural forms of Kerala,
primarily classical dances and music.
07 WATCH OUT2021 JAN-FEB | VOL 03 | ISS 01
artograph

FEATURED
RAADHAKALPA
DANCE COMPANY

Rukmini Vijayakumar is
among the few classical
dancers who best utilise
the digital medium
to reach out to more
people.

STATISTICS: NOXINFLUENCER
TEXT: PRIYANKA B.

Joined on Average Video Views

T he Bengaluru based Raadha Kalpa Dance Company was established in
2009, by the acclaimed Bharatanatyam dancer and actor Rukmini Vijay-
akumar. Hailed for her innovative approach in redefining the set formats of
2007 MAY 16 27.73K classical repertoire, Rukmini had her foundational training in Bharatanatyam
Subscribers Total Videos
145K 87
under eminent gurus. The expertise in ballet, modern dance, and yoga has
Total Views
added to her style, characterised by a blend of traditional and contemporary
11.39M elements presented with utmost conviction.
Rukmini Vijayakumar is among the few classical dancers who best utilise
the digital medium to reach out to more people. Joined on YouTube as early
* Data as on 2021 Feb 28.
as 2007, the initial videos focussed on excerpts from recitals of the dancer.
However, the sharing of videos was a random choice, not following a regular
pattern. Glimpses and promo videos of dance productions always lured
viewers to watch them live or in complete duration across digital platforms.
Joining the playlist is a series of informatory videos, in which Rukmini dis-
cusses the practical aspects of the Raadha Kalpa Method, a comprehen-
sive training program for Bharatanatyam devised by herself. The sponsored
video productions enjoying the support of the Center for Soft Power went
off the charts as they explored the numerous possibilities of dance and mul-
tiple skills of the dancer. Videos entitled ‘Namami Yoga’ and ‘Yoganiyoga’
highlighting the importance of yoga, and Nāḍi conveying the philosophy of
Ayurveda, add to the list of most viewed videos. Light-hearted conversa-
tions in which the dancer shares her musings add vivacity to the channel.
The channel registered an active presence last year, with many focussed
videos conceived solely for the online audience. The choice of the dancing
space, costumes, and refined cinematographic techniques made these
videos stand out from the rest. This approach enhances the reach of the
channel and makes it popular, even among the naive audience. ●
Channel link: youtube.com/dancinruks
THIS SEGMENT FEATURES YOUTUBE CHANNELS THAT PROMOTE
CLASSICAL DANCE AND MUSIC RELATED CONTENT.
artograph INSPIRE
2021 JAN-FEB | VOL 03 | ISS 01 08
popularity down the state, often retain some ele-
ments of Kutiyattam. Vasu Pisharody developed a more
The acting of the septuagenarian never displays thoughtful approach to Kathakali, a
a touch of Kaplingadan style even though he gets defining base of his artistry, acquired
equally recognised in Kathakali circuits deep south
from his guru, Vazhenkada
of Kerala. His mudras bear a taut feel, irrespective
of the character. Be it ‘pacha’ representing virtuous- Kunchu Nair.
ness or ‘kathi’, the antihero with the stylised mous-
tache - all stand as a hallmark. Even the woodsman
or the Brahmin, known for their propensity to freak
out with a dash of realism-laced lokadharmi, go by
the signature tightness of movements.
Equally, Vasu Pisharody developed a more thought-
ful approach to Kathakali. It is a defining base of
his artistry, acquired from Vazhenkada Kunchu
Nair (1909-81), who taught him. Not to be forgot-
ten, the youngster subsequently went on to receive
advanced classes from Kalamandalam-trained stal-
warts such as Ramankutty Nair and Padmanabhan
Nair. As a young boy, he was initiated into art by
Balakrishnan Nair, who lived in Ottapalam, 25 kms
southwest of Kongad in Palakkad, the birthplace of
Vasu Pisharody.
Much of the prime time of Kalamandalam Vasu Pis-
harody got defined by a healthy professional rivalry
he had with Kalamandalam Gopi, an all-time great
actor six years older. For instance, when Gopi won
applause for his stately postures struck in ‘undo’
and ‘illayo’ for the aforesaid Bahuka, Vasu effec-
tively took an inverse approach. From the audi-
ence point of view, the two masters graced Katha-
kali with contrasting styles that helped balance the
practical side of the art form.
A break and the comeback
In 2005, the world of Kathakali received a rude
shock when Vasu Pisharody, at the peak of his
career, began to retreat from performances. It was
around the time he went to Delhi to receive an
honour from the Central Sangeet Natak Akademi.
What started as knee pain worsened and forced
him to go on rest. At one instance, the medication
appeared successful, facilitating his return to the
stages in the summer of 2009. It was with a show
in his home village. Days later, at the pilgrim town
of Guruvayur, he donned his favourite character,
Bahuka, from ‘Nalacharitham Nalam Divasam’.
The comeback instilled hope in colleagues and
well-wishers of the actor. The scene was a happy
contrast from the previous year. Kathakali chron-
Kalamandalam Vasu Pisharody reprising his role as Bahuka on the first
major stage after his comeback at Guruvayur in 2009.
PHOTO: JAYADEVAN S.P.
09 INSPIRE2021 JAN-FEB | VOL 03 | ISS 01
artograph
Kalamandalam Vasu Pisharody was born to T.P. Rakhava Pisharody
and M.P. Lakshmikutti on the 15th of August 1943, in Palakkad, Kerala.
After primary lessons in Kathakali from Balakrishnan Nair at Kerala
Kalanilayam, he furthered his training under maestros Vazhenkada
Kunchu Nair, Kalamandalam Ramankutty Nair, and Kalamandalam Pad-
manabhan Nair. Following postgraduate studies in Kathakali Vesham, he
specialised in the Kalluvazhi style, aided by a Govt. of India scholarship.
He served as Head of the Department of Kathakali Vesham in his alma
mater Kerala Kalamandalam and rose to its vice-principal before retiring
in the year 1999. Equally known for virtuous, villainous, and minor role-
plays, he won acclaim for the portrayals of characters like Nala, Bahuka,
Ravana, Keechaka, Narakasura, Parasurama and so on. He is the recipi-
■ RAJAN KARIMOOLA

ent of several laurels, including the Kerala Kalamandalam Award (1998),

Kerala Sangeetha Nataka Akademi Award (2003), Central Sangeet Natak
Akademi Award (2004), and the most recent KSNA Fellowship (2020). ●
Additional text by Priyanka B.

icler N.P. Vijayakrishnan remembers the poignancy around a 2008

episode where a recuperating Vasu Pisharody was taking slow rounds
at his neighbourhood temple one morning.
“Outside, I was interviewing Kathakali musician Kottakkal Madhu for
a television show. By coincidence, he sang a famed verse where Nala
wonders if anything was being heard about him around. It was the
“Nalane aar kandu bhootale...” (Who has seen Nala around?). It was like
a live commentary on the existence of Vasu Pisharody.”, recollects Vijay-
akrishnan.
Six years later, the master brought out ‘Ranga Naishadham’, a per-
formance manual on Nalacharitham. By then, he had withdrawn
much from the stage even as the Govt. of Kerala honoured him with
the prestigious state award for Kathakali in the year 2012. A knee
replacement surgery happened meanwhile. Of late, till COVID-19
dulled Kathakali a year ago, Vasu Pisharody appeared on and off in
roles that required less strain and time.
The mishaps apart, Vasu Pisharody is cheerful as in his heyday. The
master lets no Kathakali buff leave his house before a long chat. Loud
laughs punctuate the spirited conversation that invariably centres
around Kathakali. Earlier this year, the actor-dancer completed 77.
The following month, in February, Kerala Sangeetha Nataka Akademi
honoured him with a fellowship (2020).
YouTube has a slice of Kathakali performance dating back to 1956,
featuring Vazhenkada Kunchu Nair among other titans of Kallu-
vazhi. It shows the master, as Bhima in the classical ‘Kalyanasou-
gandhikam’ play, seeking blessings from Hanuman after real-
ising that the ‘old monkey’ is his elder brother. That
bit of body language is enough to assess the source
of style, Vasu Pisharody inherited on stage. Con-
noisseurs wish they watched more of its updated
beauty. ●

Kalamandalam Vasu Pisharody presenting the Brahmin in 'Rukmini-

swayamvaram' play, organized by Drisyavedi, T'puram.
PHOTO: HAREE FOTOGRAFIE
 artograph MEMOIR
2021 JAN-FEB | VOL 03 | ISS 01 10
“If you are fortunate to identify what interests you
most and will give you satisfaction in your work,
go and pursue it. Whatever difficulties you face,
you will get the energy to overcome them...”

An ode to - Sunil Kothari [1]

SUNIL W
ords born out of wisdom gathered over
years of nurturing the passion for Indian

KOTHARI
classical dance, he was much beyond
being an acclaimed dance critic. An artist himself
who created art out of another artist, the scholar
did it all with sensitivity and integrity. However,
such esteem did not come without years of test and
ASHWATHI P.G. toil, proves the journey of Sunil Kothari.
A classical odyssey
The interview in Narthaki [1] offers a gist of his life,
artistic journey, and associations Sunil Kothari
had with stalwarts in the cultural realm. Born into
a Gujarati family, he showed keen interest in the
teachings of tradition that his family equipped him.
“When I was four years old, my parents took me to
Sree Nathdwara near Udaipur, Rajasthan. My mother
taught me the ‘Yamunashtakam’ in Sanskrit by giving
me one copper paisa with a hole per shloka, and I
thought I was richer by eight paise! Mother used to
laugh and say; being a Bania, he thinks of money but
does not know that Sanskrit will stand by him for
life...’’ - this is how Sunil recollected his childhood
in that interview.
Even as a child, he enjoyed dancing to temple
songs. Bhava flowed through him with ease. “My
face became a playground for various emotions, and I
expressed them rather well. My body fell into graceful
poses. I loved all that. Parents and elders showed off
my talents before guests...”, he once told The Hindu
daily. [2] But as many men at the time, he was ridi-
culed for pursuing his passion for dance due to the
prevailing misconception that dance is a female art
form. Only those who could tolerate the questions
of stereotypical gender norms could pursue it.
Also, since Sunil was already a qualified chartered
accountant, he received warnings about letting go
of a stable occupation for a life that may buy him
only stories to tell than security. “You must have
abiding faith in what you do...” his words affirm firm
■ WIKIPEDIA / AUGUSTUS BINU

resolve. [1] Soon his faith earned him the position as

a dance critic, and in time, his stories became the
most sought after.
Sunil Kothari made it a practice to learn various
dance forms and embody movements himself in
his critique. “When I saw Bharatanatyam dancers
11 MEMOIR
2021 JAN-FEB | VOL 03 | ISS 01
artograph
Lalitha, Padmini and Ragini… I fell for it and decided to learn it from
traditional Guru Kalyanasundaram Pillai, son of Kuppaiah Pillai…”, he
remembers his college years. From a glance at his writings narrating
his journey, one may identify that he played the role of a learner and
the learned at the same time. The association of Sunil with eminent
artists like Rukmini Devi Arundale, Balasaraswati etc., is a testimony
to his quest for knowledge. Further, his role as a learner also high-
lights his openness to having his work criticised despite his own
expertise as a critic.
The care and sensitivity he put into his work defined his role as the
learned. When dance criticism was viewed as a negative evaluation,
evoking fear, he practised informed spectatorship and careful com-
mentary. His method proved to be useful for the dancer as well as the
reader. Thus, he seamlessly shifted between the roles of a learner and
learned, yet maintaining congruence.
Being an art critic
A paper presented by Sunil Kothari on the topic ‘constructive dance
An artist himself who criticism’ at a seminar hosted by Lalit Kala Kendra, Pune, is a testi-
mony of his deep insight into the art of criticism. Later he published
created art out of an article with the same title in Narthaki. [3] “When a dancer deviates
another artist, Sunil from the norm, the aesthetic principles and seems to violate the spirit of
Kothari did it all with the dance tradition, a critic is bound to draw attention to it...”, opines
Sunil, who considered constructive criticism as the duty of a critic.
sensitivity and integrity.
He also believed that for a critique to be of value, proficiency in arts is
However, such esteem
mandatory. Given the rich usage of symbols and suggestions, Indian
did not come without dance inherently seems quite ambiguous to the regular audience.
years of test and toil, Thus, the relevance and aesthetic enjoyment of dance are in con-
proves his journey. stant question. Understanding the enormity of the task of a critic in
interpreting a performance, Sunil Kothari stresses certain factors. He
advocates being adept, not only in the dance form but also in mythol-
ogy, poetry, literature and language.
“He is expected to be well versed in the technique of dance and music,
the aesthetic theories governing dance, as well as the poetry, the theme
and the content of a particular performance. This is a tall order, but
only one who has some knowledge of these matters is really qualified to
review dance...”, opines Sunil. Only with a nuanced combination of
the above ingredients did he believe that a dignified work of criticism
gets crafted. Sunil also highlights the sensitivity of sharing art and the
caution for holding sincere criticism for it to be ‘constructive’. “When
a critic earns reputation as generally being fair in his assessment, he
earns credibility...”, he believed.
He spoke of the dynamics of the relationship between the dancer
and the critic, which often blurred the boundaries of objectivity and
confused the reader about what to expect from criticism. “In India,
dance critics and dancers mix with each other, visit their homes, accept
their hospitality, become friends, meet socially and in general develop
bonhomie. The distance necessary between dancers and critics is not
maintained...”, his observations go on.
ASHWATHI P.G. is a clinical psychologist in
the making. As a Bharatanatyam dancer,
poet, and writer, she has been a loyal Treading his path
companion of arts from a young age.
She aspires to explore the role of arts in It is his mastery of viewership as well as the expression that aided
the therapeutic realm. him in sailing through the many struggles in his CONTINUED ON PAGE 33 ►
 artograph ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01 12

Frames
COVER STORY

that matter
HAREESH N. NAMPOOTHIRI

T
hink of photographers who’ve traveled the length and
breadth of the country, covering Indian classical dance
and music events and artists; there won’t be many to list
down, and in the top comes the name of Avinash Pasricha.
Born to Fateh Chand Pasricha and Chanan Devi on the 2nd of
August, 1936 in Shimla, the capital city of Himachal Pradesh,
Avinash got initiated into the world of photography through
his father’s photo studio ‘Delhi Photo Company’. After com-
pleting his schooling at Delhi Public School, New Delhi, he
went to St. Stephen’s College during1953-56, and also did
his MBA from Delhi School of Economics in 1964 along-
side working for the Span magazine at the U.S. Informa-
tion Service (USIS).
Q: How did you get into photography?
What was your inspiration?
The studio owned by my father had a branch in Mussoorie
where I grew up. I saw him work on portraits and attend
to the customers. So I played around with cameras
and darkrooms right from my tender age. And, I
got a Kodak box film camera to begin with, and
later a Rolleiflex camera with 120 size square
pictures.
When USIS started a photo lab, I joined
them to learn darkroom work. In 1960
USIS launched SPAN magazine and
I became its photo editor. Here also
we used two Rolleiflex cameras, one
for monochrome and the other
for color transparencies in my
assignments for SPAN. Gradu-
ally, we shifted to Nikon 35mm
cameras. And my term in SPAN
for almost four decades com-
pleted my transformation
13 ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01
artograph
as a photographer.
Q: And how did you initiate into dance photography?
I did some dance photography for a SPAN feature on Indrani Rehman The most essential
in 1961, but the results were not very good as in those days we used
Rolleiflex cameras with a flashgun. The concept of using the avail- quality of a good dance
able stage lights alone didn’t strike me then. My first attempt at avail- photographer is not to
able stage lights photography was covering a four-day music festival obstruct the audience or
called ‘Vishnu Digambar Jayanti’ at Sapru House in 1966 where I was
disturb the dancer.
using Tri-X film pushed to 1200 ASA and processed in Acufine devel-
oper. The results were so good that I stopped using flash for concert
photography. A Tanpura photograph even won me a cash prize.
It was at that time I got acquainted with Madhavi Mudgal who used to
dance both Kathak and Odissi, and my first dance pictures turned out
to be with her. Since then I have photographed
many dancers both in my studio and
on stage.
Q: Who do you think
makes a good dance
photographer?
The most essential
quality of a good
dance photographer
is not to obstruct the
audience or disturb
the dancer. Nowadays,
I generally choose a suit-
able end seat in the second
row from the front and keep
my eyes and camera focused
on the stage and click when I
see a good picture. The other
suggested positions will be
from the side wings or the back
using good telephoto lenses.
The problem nowadays is mobile pho-
tography. People just raise their phones
above their heads and click or even record
video mindless of obstructing the view of
people sitting in the rows behind them.
And at the same time, in most cases, they
won’t be getting any worthwhile pictures
or videos. They are just having fun with
their cellphones.
And coming to the aesthetic part, in my
opinion, a dance photographer should be
conscious of the expressions on the face,
particularly in the eyes of the dancer.

Avinash Pasricha during one of his studio

shooting sessions; artist featured here is
Jyotsna Shourie.
PHOTO: AMIT PASRICHA
artograph ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01 14
When I started taking pictures of dance performances I became
aware of constant movement on stage and tried to show dance
movement sometimes as a blur, sometimes frozen, and often as mul-
tiple exposures on the same frame, even with my Nikon film cameras
where this was not easy to do.
Q: Do you think the camera gear one uses
makes one a better photographer, particularly
in the context of dance photography?
In the case of dance, Yes, a fast recording digital camera would capture the best moment,
the light is uneven, but it is the photographer who has the eye to click at the ‘right
so the photographer moment’ and produce a quality photograph. It depends on what you
are looking for, often luck plays a good part in getting an interest-
has to often adjust the ingly composed picture. Other than the gear, a lot depends on the
exposure to get the best dancer’s movement, poses, and expressions which you have to con-
picture. He has to be stantly look out for. Be aware and see what will make a good picture
worth capturing. Even in a group, the photographer’s eye searches
aware all the time of the for the better dancer to follow and aim the camera for the picture he
technical requirements wants to capture.
of a good picture.
Q: Every stream of photography has its scope and challenges...
When we think about dance or music photography, it also depends
on for whom we are capturing the photographs. Whether it’s for your
creative urge, or the performer, or the organizer or a publication.
In music photography, the microphones and their hanging wires
make it even difficult. One has to find a suitable gap to get a view
of the main performer and wait for a suitable moment of hand or
face expression worth capturing. For this one has
to often sit on the floor near the stage with the
camera resting on the edge, and again not
disturb the audience.
Avinash Pasricha turned into a dance
photographer teaming up with Odissi
exponent Madhavi Mudgal in the early
seventies. This is from a studio photo session
in 1980.
PHOTO: AVINASH PASRICHA
15 ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01
artograph

A freezed moment from the Manipuri Pung Cholom (top) presented

at Triveni in the year 1999, and the girl with the tampura snap taken
in 1966 during the Vishnu Digambar Jayanti Music Festival that won
Avinash his first prize in a photo competition.
PHOTOS: AVINASH PASRICHA

In the case of dance, the light at different parts of

the stage is uneven, so the photographer has to
often adjust the exposure to get the best picture. He
has to be aware all the time of the technical require-
ments of a good picture. Also, he may choose to get a
degree of motion or to freeze the moment. Opening
the full aperture and changing the shutter speed or
ISO setting as required works best for me.
Unlike in a studio, shooting a live performance
also means the photographer has no control over
the stage lights. One has to be continually aware
of stage lights which may be less at some points of
the stage or too much at other points. Also, often
the light technician may just enjoy playing with
lights trying to showoff some effects. Even with all
these going around, you still can capture ‘mood’
pictures better if you are aware of what is happen-
ing on stage. Nowadays many gurus present group
productions where many dancers hold the same
pose or try to make group formations. However, it
doesn’t interest me. I prefer shooting solos or duets
where one can capture facial expressions or inter-
esting poses of the individual or duet.
Q: While we have a rich cultural heritage, and
many classical art forms, we don’t see many
photographers who focus on arts and culture.
artograph
Yes, over the years one notices that the number of
photographers at such programs varies. If there is
a well-known prominent performer there may be
more photographers. Also, there is not much money
in covering such performances. Who will pay for
such photography? More than photography, people
are now more interested in the video coverage of
their programs, which they can also use online or
put on YouTube. The still photographs they usually
want is just for the record or for sending to the
sponsors or publications.
Q: Past and present, the technology of
photography has evolved a lot. Does it bring
changes in your approach, practicality,
feasibility etc. as a dance photographer?
To a certain degree, technology has affected stage
dance and music performance photography. Earlier
one used film cameras for monochrome, for color
negatives and transparencies. It recorded instantly
what you clicked and the film had limitations. Now
with digital one tends to shoot more hoping to
capture the best moment. And, then spend much
more time editing on the computer, which is good
in one way, but time-consuming; and yet you might
still miss the best moment.
Photo of M.S Subbulakshmi from her live concert by Sangeet Natak
Akademi in 1975 at Rabindra Bhavan, New Delhi (left) and that of
Kalamandalam Krishnan Nair during a demonstration.
PHOTOS: AVINASH PASRICHA
ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01 16
Q: What do you enjoy most in your dance
photography sessions? Is it the process
of photography or the art form itself?
I enjoy the process of photography. Seeing whether
the dancer conveys a mood particularly in the facial
expression and eyes - I try capturing that and I may
miss it often! Since I do not know the language of
most dance forms or the items presented, I do not
follow the story or art form. Of course, I enjoy the
music even with my limited hearing while clicking
the pictures.
Q: Shooting dance/music or artists during
a performance on stage, and in a studio
environment. How do you approach the two
scenarios - technically and aesthetically?
In the studio, you have complete control over your
lighting and the setting. But I find it very difficult to
capture a good ‘mood’ as most dancers tend to hold
a pose that looks quite static and statue-like. I often
have to tell them to move from one side of the pose
to another and look here or there or up or down
to get an interesting expression worth capturing. I
used to do a lot of pre-arangetram photography for
the parents to bring out a good brochure and also
put up a large blow-up in the foyer for the program.
Here again, the guru is often there to do a specific
list of poses. On the other hand, on stage one usually
has no control over the lighting, and the dancer
dances to the accompanying music and tries to fill
up the stage with a lot of extra movements. Here a
17 ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01
artograph

A moment from the Bharatanatyam concert photographer has to continually follow to capture a good moment of
of Vyjayanthimala Bali at ITC SRA Sangeet
Sammelan in 2010. the dancer’s involvement and performance.
PHOTO: AVINASH PASRICHA
Q: You’ve shot several artists on and off the
stage. Do you have any favorites?
No, I do not have any favorites, but yes some artists perform so well
that I have enjoyed capturing their mood on stage. Yamini Krish-
namurthy, Malavika Sarukkai, Alarmel Valli, Vyjayantimala Bali,
To a certain degree, Geeta Chandran, Birju Maharaj, Shovana Narayan, Ranjana Gauhar,
Shobha Naidu, Raja-Radha Reddy, Swapna Sundari, Kelucharan
technology has affected Mohapatra, Sadanam Balakrishnan, and Kalamandalam Krishnan
stage dance and Nair - the list goes on. However, when I carry my camera to the audi-
music performance torium, I constantly look for suitable expressions to capture. It doesn’t
photography. matter whether it is a novice or an established dancer.
Photographers tend to Q: Which one is the favorite image in your collection?
shoot more hoping to My favorite image which also hangs in my drawing room is of M.S.
get the best moment. Subbulakshmi. I feel the picture has captured the moment of devo-
tion on her face, I should say, by sheer chance!
Q: Your tryst with Kerala...
I have traveled to Kerala a couple of times. The first time was for a
story in SPAN on fisheries and shrimp exports from Kerala to the USA.
The second time was with Bharati Shivaji for her book on Mohini-
yattam. We visited several temples to photograph sculptures that the
dancers attempt to follow in their poses, and also a few wall paint-
ings. I photographed Bharati in costume at the Mahabalipuram beach
and also a few young dancers in costume. The book has recently been
reprinted by Bharati Shivaji and has just been re-released again in
New Delhi at the Jaipur Literary Festival. The next time I traveled to
Kerala was just to see the sights and spend time with friends at the
YOUTUBE VIDEO - AVINASH PASRICHA hill stations. We did not see any dance programs in Kerala except the
tinyurl.com/ag-avinash
artograph
Bharati Shivaji in costume at the Mahabalipuram beach in 1981, for her
book on Mohiniyattam.
PHOTO: AVINASH PASRICHA
Soorya Festival in the palace on the hill by sheer
chance.
Q: Your exhibitions and their reception...
I have not done many exhibitions - one in Chennai
years ago, and a couple in Delhi. Have done some
exhibitions in the auditorium foyers of Guru
Kelucharan Mohapatra and Pandit Durga Lal at the
Kamani auditorium. The last exhibition I did was
for World Dance Day in April 2019 at the Indian
Habitat Centre, New Delhi. But, not too many people
showed up. It was very small and not well adver-
tised. We are planning to have one new exhibition
at the new Museo Camera complex in Gurugram
soon.
Q: The pandemic unsettled many streams,
how do you see the situation?
The past year has been not too good for me or the
dancers and musicians. No programs in auditori-
ums and I do not enjoy programs on my laptop or
even on the large television screens.
Last year there were many videos of their earlier
programs being streamed on YouTube. Also a few
made without audiences just to keep the organiz-
ers and performers in the public eye. However, the
performance of most good dancers is much better
for a large attentive audience.
ART COLLOQUY
2021 JAN-FEB | VOL 03 | ISS 01 18
Also, not many newspapers were carrying program
reviews. So, the camera is lying in the cupboard.
There is an occasional demand for some of my old
photographs which I try and fulfill - usually without
payment.
Q: Future plans...
I am now in my mid-eighties and I try my best to
somehow digitize over six decades of work that
can be saved and be available for posterity. I am
not good with the computer, while we hired some
young people to do it and help, but with the pan-
demic shutdowns, the work is on a halt for the time
being.
Avinash Pasricha has co-authored multiple books
on Indian dance with exponents and artists like
Sunil Kothari, Leela Samson, Leela Venkatara-
man, Bharati Shivaji, and Raghava Menon. The
Sangeet Natak Akademi honoured him with the
title award in recognition of his overall contri-
bution in the field of music and dance in 2018.
He has received several other accolades including
the Delhi Sahitya Kala Parishad Award (1988), the
Lifetime Achievement Award by Natya Vriksha
(2018), and Guru Kelucharan Mohapatra Award
(2019).
Avinash Pasricha married Santosh Manchanda
on January 16, 1963, at Barnala (Punjab). Elder
son Veenu Pasricha now runs a media firm, and
younger son Amit Pasricha is a photographer, inte-
rior designer, and cultural activist. ●
19 GENERAL
2021 JAN-FEB | VOL 03 | ISS 01
artograph

grabbing the
attention
PRIYANKA B.

The change in medium hardly

hampered the spirit of artists and
the rasikas, and the success stories
of online events go on, making a
difference.

A
new year has begun. The field of perform-
ing arts has been passing through a stage of
reformation since the pandemic outbreak.
Whilst sticking to tradition, it has become modern
in both thought and approach. However, the change
in medium seems not to have hampered the spirit
of artists and the rasikas. The receptivity to ticketed
events best exemplifies this. Success stories go on,
and here’s a look into some, which made a differ-
ence.
Devi Kamakhya Sanskritik Mahotsav
The second edition of the dance festival in honour
of goddess Kamakhya, the presiding deity of
Kamakhya temple, Assam, turned impactful by the
presence of a line-up of exponents. Jointly organ-
ised by Kalpavriksh and Muktimangal, the one-day
show titled ‘Devi Kamakhya Sanskritik Mahotsav’
was live-streamed across the organiser’s YouTube
channel on the 1st of January 2021.
Bharatanatyam exponent Rama Vaidyanathan
performed in the opening slot of the near four and
a half hour event. She began with a verse from
Kamakhya Tantra, followed by “Sringara rasaman-
jari...”, a composition of Muthuswami Dikshitar
in praise of Goddess Kamakshi. Delving into the
depths of Sringara rasa, embellishing it with grace

Bharatanatyam exponent Rama Vaidyanathan performing in the

opening slot of Devi Kamakhya Devi Kamakhya Sanskritik Mahotsav
2021.
PHOTO: INNEE SINGH
artograph
K alamandalam Shanmukhadas is
a noted Kathakali actor hailing
from Ambalappuzha, Alappuzha.
Joining at the age of twelve in Kerala
Kalamandalam, he was fortunate
to be under the able tutelage of
eminent gurus like Kalamandalam
Ramankutty Nair, Kalamandalam
Gopi, Kalamandalam Vasu Pisha-
FEATURED
rody, and Kalamandalam Balasu-
SHANMUKHADAS bramanian. Recently he joined as a
faculty in his alma mater.
KALAMANDALAM
Shanmukhadas excels in male
and female lead roles alike. Pacha
roles such as Arjuna, Nala, Bhima,
Bahuka, Daksha, Karna; Kathi roles
like Keechaka, Ravana, Duryodhana;
and Minukku (female) characters like
Damayanthi, different Lalitha roles,
Mohini, Panchali - his presentation
of these characters in various plays
FACEBOOK - KALAMANDALAM SHANMUKHADAS
fb.me/kalamandalamshanmukha.das are highly praised by the rasikas all
over. He has traveled extensively
within and outside the country for
performances, workshops, and lec-
ture-demonstrations. He is the recip-
ient of several laurels including, the
Ustad Bismillah Khan Yuva Puraskar,
Bhagavathar Kunjunni Thampuran
Endowment, and so on.
EXPOSURE: 1/125 | F6.3 | ISO 800
CANON EOS 450D / SIGMA 70-300MM F/4-5.6 DG MACRO
STAGE
2021 JAN-FEB | VOL 03 | ISS 01 20
HAREE FOTOGRAFIE
fb.me/haree.fotografie
Among the different characters that
he breathes life in the portrayal, a
unique role is that of Raudra Bhima
in ‘Duryodhanavadham’ Kathakali.
A furious Bhima searches for his
arch-rival Dussasana in the Kuruk-
shetra to slaughter him and honour
the promise made to Panchali.
Right from the ‘thiranottam’ or the
customary curtain-raiser, the actor
has to show a lot of indignancy and
sustain it till the end, making the
roleplay challenging. Over the years
Kalamandalam Shanmukhadas
has proved his mettle in presenting
Raudra Bhima, and now is one of the
most favoured actors for the role.
These snaps are of Raudra Bhima
by Shanmukhadas, presented more
than a decade back, in connection
with the ‘National Livestock Show &
Food Festival 2010’ at the open-air
stage of Nishagandhi, T’puram. ●
EXPOSURE: 1/60 | F5.6 | ISO 800
CANON EOS 450D / SIGMA 70-300MM F/4-5.6 DG MACRO
21 STAGE
2021 JAN-FEB | VOL 03 | ISS 01
artograph
artograph GENERAL
2021 JAN-FEB | VOL 03 | ISS 01 22

Seasoned artists Madhavi Mudgal (left) and and devotion, Rama Vaidyanathan unfolded the various forms of the
Bharati Shivaji during this year's edition of
Devi Kamakhya Sanskritik Mahotsav. goddess of desire. The uniquely choreographed item turned out to be
SCREEN CAPTURES a feast for the eyes as the dancer explored womanhood in every bit
of her performance. The recorded music with Sudha Raghuraman in
the vocal lent the mystic feel the piece demanded.
Following Rama, acclaimed Odissi dancer Madhavi Mudgal per-
YOUTUBE - DEVI KAMAKHYA formed a couple of items characteristic to the repertoire. The dancer
SANSKRITIK MAHOTSAV
tinyurl.com/ag-dksm began with an invocation to goddess Lakshmi. It led to an abhinaya
piece depicting Radha in conversation with the divine flute, the
inseparable companion of Krishna. The ashtapadi “Dheera sameere...”,
wherein a sakhi pursues Radha to meet lovesick Krishna followed
and, Madhavi concluded with pallavi, a pure dance piece.
Vyjayanthi Kashi, who is synonymous with Kuchipudi, made her pres-
ence felt with a vibrant performance. After the invocation, she moved
on to ‘Sharmishtha’, with characters drawn from Mahabharata. It
narrated the tale of Sharmishtha, whose fortunes dwindle at the
hands of fate. Her friendship with Devayani, how it turns sour, and
the events reducing her from a princess to servant and ending up
as the second wife of King Yayati formed the storyline.
Representing Kathak, appeared one of the foremost expo-
nents of Jaipur gharana Rajendra Kumar Gangani. Follow-
ing an invocatory piece, he depicted the melody of the tra-
ditional teen taal using a pure dance number characterised
by intricate footwork. The dancer then gave way to a group
from Kerala who joined with a Kathakali performance.
The team presented an abridged version of ‘Kalyanaso-
ugandhikam’ play in two acts, with Sadanam Krishnan-
kutty enacting Bhima, Kalluvazhi Vasu as Panchali, and
Kottakkal Nandakumaran Nair in the role of Hanuman.
Kottakkal Madhu and Nedumpally Ram Mohan (vocals),
Kalamandalam Unnikrishnan (chenda), and Kottakkal
Ravi (maddalam) offered the musical accompaniment.
Manipuri by dancer-couple Sinam Basu Singh and Monika
Konjengbam and, Mohiniyattam by Bharati Shivaji were

Guru Vyjayanthi Kashi during her Kuchipudi performance at the 2021

edition of Devi Kamakhya Devi Kamakhya Sanskritik Mahotsav.
PHOTO: PAWAN
23 GENERAL2021 JAN-FEB | VOL 03 | ISS 01
Avijit Das (from left), Sneha Sasikumar, and T.
the other two recitals in the event.
Reddi Lakshmi presenting Kuchipudi for the
'Natya Keertanam' project. The Manipuri segment had solo
SCREEN CAPTURES pieces, to begin with, and then the
duo came together in ‘Shiva Pan-
chakshara’, hailing Lord Shiva.
For acclaimed Mohiniyattam
artist Bharati Shivaji, journeying
through emotions looked effort-
less as she presented ‘Ashtarasa’,
making it a perfect conclusion for
the dance festival.
An initiative of Natya Keertanam
SAMPADA, the An initiative of Silicon Andhra
‘Natya Keertanam’ Music, Performing Arts and
Dance Academy (SAMPADA), the
aims to make the ‘Natya Keertanam’ aims to make
rare compositions of
the rare compositions of legend-
legendary musicians ary musicians available for the
classical dance repertoire. Culmi-
available for the nating a two-year-long effort, the
classical dance Annamacharya segment of the
repertoire. project released on 23rd and 24th
January this year registered an
impression by the innovation in
thought and execution.
Ten songs from the Annamach-
arya clan were re-rendered as
dance compositions as part of
the initiative. These got assigned
to eleven noted talents who
performed them in the dance
segment of the two-day event.
The first day had a panel dis-
cussion featuring the partici-
PRIYANKA B. is a post-graduate in English
literature and an art enthusiast who pant artists and the organisers,
enjoys photographing classical dance wherein the former discussed
performances. She currently works as
Postal Assistant with Department of the thought process that went
Posts, India.
into choreographing the dance
artograph
pieces. The dancers opined that
the approach adopted here was
a drastic shift from their comfort
zone, enabling them to exper-
iment and present ideas that
explored the various depths of
the Annamayya compositions.
Coming to the musical part,
the songs chosen from differ-
ent genres of the literature of
the saint-poet and rendered by
Sriram Parasuram, Seshulatha
Kosuru, and T.K. Saroja offered
numerous possibilities for dance
interpretations. Devotional songs,
Sringara padams, and philosoph-
ical verses; the dancers portrayed
the various facets of these as they
came back to back in the allotted
slots of nearly fifteen minutes.
Avijit Das, in the opening slot,
presented “Kandarpa janaka...”, a
power-packed piece evoking the
numerous forms of Lord Vishnu.
Sneha Sasikumar emerged viva-
cious as she danced to an endear-
ing composition, “Rara chin-
nanna...” depicting the pranks of
Krishna and the effect it brings
on the womenfolk.
For T. Reddi Lakshmi, the padam
“Kadalinte mata...” served as
an opportunity to experiment.
Originally written from the per-
spective of the sakhis, who tease
the newly wedded goddess Ala-
melumanga, the dancer adopted
a different approach, portraying
artograph
Alamelumanga herself and her reactions towards
the comments of sakhis on the intricacies of a
love-relationship.
A composition making use of a similar theme, the
padam “Polathi javvanamuna...”, presented by Payal
Ramchandani, described the sakhis in praise of
beautiful Alamelumanga, likening her emotions to
various flowers, as goddess yearns for the union
with her beloved. Aparna Dhulipalla appeared in
“Purushottamuda veevu...” a composition having
deep philosophical overtones. It hails the magna-
nimity of the divine supreme, who always comes
to the rescue of his ignorant and inferior devotees.
However, the introspective theme and song struc-
ture seemed a real challenge for the performer
here.
Proceeding to the Bharatanatyam part, the per-
formers were Uma Sathya Narayanan, Divya Ravi,
Renjith Babu-Vijna Vasudevan, Kasi Aysola, and
Geetha Sirisha. “Nagavulu nijamani nammeda...”,
performed by Uma, depicted a confused nayika
whose mind oscillates between the temptations
thrown in by Lord Venkateswara and the will to
resist the same. By shifting the focus from the nritta
part, Uma explored the potentiality of abhinaya to
convey her theme.
Divya Ravi gave life to “Ekkadi manusha janmam...”
a composition depicting a seeker contemplating
the very existence of life. A theme difficult to work
upon, her performance had several interesting
elements, particularly the use of recurrent motifs
representing the endless cycle of births and deaths
that constitute the maya.
Annie Sajayan (left) during her opening program and Guru Geetha
Padmakumar with her disciple Kalamandalam Sheena Sunil at the
eighth edition of 'Lasyotsavam' classical dance festival.
SCREEN CAPTURES
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2021 JAN-FEB | VOL 03 | ISS 01 24
For Renjith-Vijna, “Namo namo raghukula nayaka...”,
a song in praise of Lord Rama, offered the opportu-
nity to present a condensed version of Ramayana by
touching upon the important episodes. Kasi Aysola,
who presented the padam “Iddari tamakamu litu-
valene...” attempted to delineate the sensitive ideas
involved in it. The item portrayed a sakhi who had
come on behalf of the heroine to invite the hero.
However, the meeting results in a romantic dalli-
ance with the hero. With the unexpected turn of
events, the sakhi feels reluctant to approach the
heroine, eagerly waiting for her beloved. To con-
clude, Geetha Sirisha performed “Namo narayana...”
abound in devotion to the lord, expressing com-
plete surrender.
While SAMPADA put reasonable effort into main-
taining the video-audio quality, the unnecessary
graphic should’ve been avoided.
Lasyotsavam
The eighth edition of ‘Lasyotsavam’, the national
classical dance fest curated by Pallavi Krishnan
under the aegis of Lasya Akademi of Mohiniyattam,
happened online this time. Inaugurated by Kala-
mandalam Hymavathy, the three-day event held
in association with the Ministry of Culture, Govt. of
India, took place from 13th to 15th February 2021.
Live-streamed across online handles of the organ-
iser, the one-hour session on each day focussed on
two performances.
The festival got to a start with the Mohiniyattam
recital of the budding talent Annie Sajayan. She
began her performance with ‘Shiva tatvam’, a
composition of Kavalam Narayana Panicker and
Palakkad Suryanarayanan, based on Shiva Pan-
chakshara stotra in praise of the lord. Annie con-
cluded with the oft-performed, endearing Swathi
Thirunal padam, “Chaliye kunjanamo...”, portraying
25 GENERAL
2021 JAN-FEB | VOL 03 | ISS 01
the courtship of nayika and her
beloved Krishna.
The next item in the slot brought
together two artists represent-
ing two distinct dance forms.
Rakesh Sai Babu in Mayurbhanj
Chhau and Priya Srinivasan in
Bharatanatyam tried to bond the
drastically different repertoires
without losing the essence of
each of them. The duo performed
unitedly in pieces ‘Samagam’-
exploring the musicality and
technique of both the dance
styles and ‘Shringara’- based on
the theme of Radha-Krishna love.
In solo pieces ‘Nataraj’, hailing
Lord Shiva, and ‘Yoddha’, the
acrobatic war dance involving
swordplay, Rakesh Sai depicted
the vitality and vigour of Chhau.
The second day featured Odissi
by Shashwati Garai Ghosh and
a Kuchipudi group performance
led by Guru Geetha Padmaku-
mar. Shashwati chose to present
‘Gativilas’, an item in which she
described the attributes of a per-
former by making comparisons
with certain birds and animals.
She then moved to ‘Poorna’,
a padavali in raag Kalashree,
depicting a matured woman in
love, conversing with her sakhi.
Conceptualised by herself, the
item seeks inspiration from the
idea of the growth of an artist
who learns to live with the art,
embodying every aspect of it. The
choice of items made her perfor-
mance engaging, but inadequate
lighting somewhat limited the
experience.
One could only wish to have
more of the next performance of
the day led by Geetha Padmaku-
mar, accompanied by her senior
disciples Kalamandalam Sheena
Sunil and Kalakshetra Ponny
Anurag. The group began with
an invocatory piece, “Sree Rama
Saraswati sevitha...”, a composi-
tion of Muthuswami Dikshitar
in praise of Goddess Lalitham-
bika. It then gave way to a solo
piece featuring a vibrant Geetha
Padmakumar in the Annamach-
arya composition “Paluku tenela
talli...”, describing Goddess Pad-
mavati who sleeps after spend-
ing a blissful night of union with
Lord Venkateswara. The group
concluded with the tarangam,
“Alokaye sree balakrishnam...”
depicting various episodes from
the life of Lord Krishna.
The final day had a Kathak recital
by Nepal-born Leena Malakar
Vij and Kathakali featuring two
young talents. Leena, who spe-
cialized in Jaipur gharana began
with ‘Omkara’, conceived as an
artograph
Kathakali by Kalamandalam Adithyan E.S. and
Kalamandalam Vaisakh concluding the eighth
edition of 'Lasyotsavam' classical dance
festival.
SCREEN CAPTURE
FACEBOOK - THE 8TH EDITION OF LASYOTSAVAM
tinyurl.com/ag-lasyotsavam
invocation to Lord Shiva. She
continued with a pure dance
piece in teental and ended up
in ‘Krishna leela’, based on little
Krishna. The festival concluded
with a Kathakali performance
by Kalamandalam Adithyan E.S.
and Kalamandalam Vaisakh.
The duo enacted the ‘Gita Upade-
sha’ episode, taking place on the
battlefield of Kurukshetra, with
Adithyan in the role of charioteer
Krishna and Vaisakh as the per-
plexed Arjuna.
Though streaming took place in
1080p, some participants could
not ensure good quality videos,
which marred the impact of their
performance. Except that, the fes-
tival was topnotch with leading
artists delivering performances
par excellence.
And among the rest of the events
that happened, ‘Arpanam’, a
classical dance festival, curated
by Mohiniyattam exponent
Sunanda Nair completed nine
editions in five months, and is still
ongoing. For Margi, T’puram and
Nepathya Centre for Excellence
in Koodiyattam, it was another
two months of registering their
online presence. Of course, these
weren’t all, and it is only a snap-
shot from many that were orga-
nized during the period. ●
artograph FEATURED
2021 JAN-FEB | VOL 03 | ISS 01 26

making
it happen
HAREESH N. NAMPOOTHIRI

R
asaBodhi Arts Foundation, founded in
2011, initiated their flagship event
‘Evam’ in 2015, and the following
year through Wishberry, organized the
first crowd-funded classical dance fes-
tival. The festival gained recognition
with each edition premiering some
of the best dance productions
featuring exceptional artists.
This time was also no differ-
ent, except that it happened
online. Presented through
the Shaale digital plat-
form, RasaBodhi made
it happen, that too, in a
laudable manner.
The founder and curator
Keerthana Ravi men-
tioned in her opening state-
ment; “Good quality art needs
to be presented with sensitivity and sensibility,
Dakshina Vaidyanathan as Rani Rudrama Devi presented as part of
'Veerbala' on the opening day of 'Evam 2021'.
SCREEN CAPTURE
27 FEATURED
2021 JAN-FEB | VOL 03 | ISS 01
As envisaged by the
team, the 2021 edition of
‘Evam’, the four-day long
virtual program turned
out to be a benchmark
for online classical
dance events.
artograph
FACEBOOK - RASABODHI ARTS FOUNDATION
fb.me/RasaBodhiArtsFoundation
Poorna Acharya as Rani Lakshmibai of Jhansi
in 'Veerbala' on the opening day of the 2021
edition of 'Evam'.
SCREEN CAPTURE
and hence we chose not to undersell our art form...” - a bold statement
indeed and something which is a need of the hour to make the art
sustainable. However, production and streaming quality must match
the expectations of the global audience. And it is in this aspect, ‘Evam’
really made a difference. As envisaged by the team, the four-day long
virtual program turned out to be a benchmark for online classical
dance events. The essential quality of the audio, video, and stream-
ing maintained throughout the festival assured an experience well
delivered.
Portraying valourous queens
The opening day of the festival featured three young dancers. They
took the roles of brave Indian queens, Rani Lakshmibai of Jhansi,
Rani Chennamma of Kittur and Rani Rudrama Devi of the Kakatiyas.
Poorna Acharya, Shivaranjini Harish, and Dakshina Vaidyanathan
adopted the stories of these queens to dance, and the curation was
by Usha R.K.
The lives of Rani Lakshmibai and Rani Chennamma are not so dif-
ferent. They both became widows at a young age and had to take
care of their adopted sons alongside ruling their land. Presented in
Kathak, Poorna excelled in converting those bols to dance sequences,
mainly displaying the martial skills and fight portions, often using
some props. Performed in a little over fifteen minutes, Poorna had to
rush through the narratives. However, she managed to give a snap-
shot of the conflicts of her character.
One area where Poorna should’ve done better was taking proper
care of the light and smoke effects. It was all awry in certain portions.
The camera and editing also lacked finesse, and continuity problems
could’ve avoided.
Shivaranjini Harish took slightly over twenty minutes to bring Rani
Chennamma back to life. In the opening three minutes, she danced
with her back to the camera and probably made the viewers wonder
what the dancer was trying to achieve. Apart from this, the dancer
put the rest together nicely. Shivaranjini’s storytelling was more com-
posed with subtle facial expressions that made the act convincing
and a compelling watch.
artograph
Though the medium was
Bharatanatyam, a few elements -
like the vachika and some jathis
- the dancer seems to have taken
inspiration from Kuchipudi,
which worked well. The chore-
ography showcasing the queen’s
combat skills using the sword
and shield was also impressive.
She could successfully highlight
how the tale of Chennamma
could inspire the women of
present times.
Avoiding unnecessary lighting
effects and keeping the video
recording simple made the show
easy on the eyes. The on-stage
music support by Ramya Jana-
kiraman (nattuvangam), Debur
S. Srivathsa (vocal), S. Lingaraju
(mridangam), and Mahesha
Swamy (flute) was also ample.
Shivaranjani Harish presenting Rani
Chennamma, the second queen in the
'Veerbala' production and her team of
musicians (right).
SCREEN CAPTURES
A different tale
Compared to the other two, the
story of Rani Rudrama Devi
takes a distinctive route. And
very aptly, Dakshina Vaidyana-
than presented it as the tale of
a grandmother bringing up her
daughter’s son to be brave and
proficient in warfare to defeat
the traitor and win back the
kingdom.
In the short span, the character
goes through different phases
of her life. She’s brave, seeks
revenge, sad about the fate of
her country, and also an affec-
tionate grandmother. Dakshina
was on a roll throughout, making
it an enticing near twenty-five
minutes presentation. Bringing
the flag of the realm as a meta-
phor, Dakshina proficiently illus-
FEATURED
2021 JAN-FEB | VOL 03 | ISS 01 28
trated the warrior’s dedication to
the country. Her technique - both
abhinaya and dance - shone as
she presented Rudrama’s life in a
nutshell.
Dakshina has shown Rudrama
imparting the knowledge of
warfare to her grandson, along-
side certain other aspects of being
a ruler - a thoughtful inclusion
that made her Rudrama com-
mendable. The well-arranged
recorded track with music set by
S. Vasudevan, soulfully rendered
by Sudha Raghuraman, was
also remarkable. The multi-cam-
era video, with hardly any light
effects, also served fine.
Immaculate to the core
Rama Vaidyanathan started
where Dakshina concluded the
other day, quite literally as it was
the same floor, setting, lighting
- the only difference being the
inclusion of live music. The nine-
ty-minute concert with alarippu,
varnam, padam, and thillana,
packaged as the ‘Now Margam’,
was special in multiple aspects.
Though a lot of dance events
happen online, full-fledged recit-
als are not that common. It hardly
matters whether it is a ‘now
margam’ or simply the ‘margam’.
When presented by a dancer of
calibre, as Rama Vaidyanathan
did here, it always makes the
audience awe.
Mayur Alarippu is something in
29 FEATURED
2021 JAN-FEB | VOL 03 | ISS 01
Rama Vaidyanathan during her Bharatanatyam recital titled the 'Now
Margam' as part of Evam 2021.
SCREEN CAPTURE
the dancer’s repertoire for many years now, and it
still looks fresh. The charm of the recital was the
varnam. Using Shyama Shastri’s composition in
Ananda Bhairavi, “Sami ni rammanave...” Rama
brought to life a heroine, totally devoted to the
Varadaraja Perumal of Kanchipuram.
One notable aspect of Rama Vaidyanathan’s pre-
sentation was the thought process and how she
approached her character. The emotions were
genuine, and the viewers could relate to each sit-
uation with ease. Take, for instance, the heroine
giving clues to her sakhi to make her understand
the name of her beloved or telling her that the time
is precious and not to waste it. In another part, she
portrayed the heroine as a child and then as a young
artograph
lady trying to make the way and get a glimpse of
the majestic procession of Varadharaja. The light-
hearted approach, in the right proportions, made
these even more lively.
The way Rama Vaidyanathan launched the dance
sequences in between each passage was flawless.
Thanks to S. Vasudevan for his free-flowing jathi
renditions complementing the dancer. Moving on
to the charanam “Maruni banamulu vemaru...”, the
heroine challenges the god of love, shows how she’s
dismayed by the flower arrows and tells him to stop
troubling her. Rama was in the best of her elements
here, and when it comes to the varying sentiments
of the nayika, she got the viewers engrossed. Sudha
The accompanying team for Rama Vaidyanathan; Manohar
Balatchandirane (mridangam), S. Vasudevan (nattuvangam) Sudha
Raghuraman (vocal), and G. Raghuraman (flute).
SCREEN CAPTURE
artograph FEATURED
2021 JAN-FEB | VOL 03 | ISS 01 30
Raghuraman’s singing echoing
the mood in each situation, along
with the mridangam by Manohar
Balatchandirane and flute by G.
Raghuraman - all provided the
dancer support in abundance.
Rama Vaidyanathan moved on
to a Kshetrayya padam, and in
the intro, she mentioned that
the lyrics hint at the lost oppor-
tunities, dishevelled plans, and
discontentment that we face
now. Set to music by the singer
Sudha Raghuraman herself in
raga Dharmavati, and Misra
Chapu tala, “Taruniro punya
paapamu...” was on a philo-
sophical course. The heroine
was very mature, and the whole
piece centred around the idea of
accepting whatever comes into
our lives, irrespective of whether
it is favourable or not. It could
be flowers or thorns, and there
could be union or separation -
it all makes no difference. Once
she realizes this, Rama’s nayika
found contentment, and so did
the viewers.
The concluding piece was a
thillana based on Skanda Sashti
Kavacham, musically adapted
by Sudha Raghuraman. With
more lyrical portions, it was like
a keerthanam and thillana mix.
While the combination worked,
for the most part, it felt unrefined
in a few places. However, both
the singer and the dancer could
conclude it on a high note, paying
obeisance to Lord Kartikeya.
Laments of Krishna
‘Venugaan’ - hearing the title, one
could easily connect to Krishna.
However, those who imagined
it as the usual happy going tales
of Krishna were in for a surprise,
or rather a shock. They were not

A scene from 'Venugaan' - a Sankhya Dance

Company production, featuring Vaibhav
Arekar.
PHOTO: SEJAS MISTRY
31 FEATURED
2021 JAN-FEB | VOL 03 | ISS 01
For the finale,
RasaBodhi joined hands
with UK based Darbar
Festival and streamed a
recorded live from their
archive. One thing that
immediately caught the
attention was the stage
and light setting.
O.S. Arun in the vocal (from left), Easwar
Ramakrishnan on the violin, D.V. Prasanna
in the nattuvangam, and Manjunath B.C. on
the mridangam formed the musical team of
Mavin Khoo.
SCREEN CAPTURES
artograph
wrong either, as Vaibhav Arekar started with “Akhilam madhuram...”
praising and touching upon the virtues of Sree Krishna, with some
fine-tuned acting and dance sequences.
The inclusion of this particular piece, in the beginning, was deliber-
ate, and it became clear as the dancer moved on to the crux of the
production. It reminded the viewers how Krishna is seen mostly - as
somebody who knows it all, powerful, and as the one who has a solu-
tion for everything.
Vaibhav Arekar then took the role of Sree Krishna in his last day of
life to present the character in an entirely different light. The produc-
tion was a dance theatre, and as mentioned by the artist, it had dia-
logues dissolving into movements and vice-versa. The light arrange-
ments, shadow and smoke effects, camera movements, edited inserts,
intriguing background score - these all came to the dancer’s aid to
create that sensation of abstruse realms.
One unique aspect of the production would be the way Vaibhav used
the medium of Bharatanatyam. A section of alarippu fused in the
initial scene, and the use of different adavus in the dancing portions
that followed - all these were noteworthy. A series of monologues,
scripted by Vasant Dev, was the backbone of the production. For each
passage, dance found the scope as Krishna’s thoughts wander to his
past. Where’s Radha? How did I end up killing Kamsa? Why am I
not able to hold my bansuri anymore? All this while, whether I was
the one playing or was it like I was being played? Krishna asks these
and more to the supreme god but in vain. The concluding scene was
the last moments of the protagonist, hinting that he goes back to his
mother’s lap.
Strikingly different
For the finale, RasaBodhi joined hands with UK based Darbar Festival
and streamed a recorded live from their archive. The show was a col-
laboration between the Bharatanatyam dancer Mavin Khoo and the
acclaimed Carnatic vocalist O.S. Arun, which took place in November
2017. Taking positions on either side of the stage, D.V. Prasanna in the
nattuvangam, Easwar Ramakrishnan on the violin, and Manjunath
B.C. on the mridangam formed the rest of the team.
One thing that immediately caught the attention was the stage and
light setting. Something that the organizers from here can consider.
The hanging filament bulbs covering the whole roof, which seemed
like just a curio initially, were brought down later. While it is doubtful
whether it contributed something to the performance, it had a visual
artograph FEATURED
2021 JAN-FEB | VOL 03 | ISS 01 32

Whatever minor flaws appeal. The video recording used multiple cameras, from different
one might find, Mavin angles, with zoom and pan movements also coming into play. When
these feeds got edited together, the output had a beauty of its own.
Khoo made it all fade But at the same time, the edits, especially when switched between
away with his atmost ultrawide and extreme close shots now and then, was more distract-
dedication and ended ing than helping to convey the mood the dancer was trying to create.
his recital impressively. Now about the performer and the performance, Mavin Khoo’s
approach to Bharatanatyam differs considerably from what the
rasikas at large are so used to. In dance portions, he danced to perfec-
tion, focusing heavily on technique and precision. Coming to the part
of the sentiment, he has a visual expression of his own. There was a
voice-over by Pia Zammit, helping those who are not familiar with
the dance form to understand the character and the context.
Mavin Khoo presenting Bharatanatyam on The near sixty minutes performance was a combination of multiple
the Darbar Festival stage in 2017; streamed as compositions. And Mavin moved from one to the other without taking
part of 'Evam 2021'.
SCREEN CAPTURE
any pauses in between. He began with a portion of the varnam “Sami
niveyani...” in Kalyani. After presenting the heroine uniting with his
beloved, Mavin Khoo swiftly moved on to “Aaj jane ki zid na karo...”,
a ghazal composed by Sohail Rana. Nayika from the varnam contin-
ued here, insisting the hero not to leave today. And Mavin made it an
earnest appeal in his portrayal.
The story continued showing the nayika waking up to find she was
left alone. Death comes untimely and in portraying the grief Mavin
was at his best. Then came the fierce Kali part, where the dancer
seemed in a trance than dancing. The vigour, dancer’s style of
all those well-defined movements, some display of his acro-
batic abilities - like the extended one-footed spin, all made it
so sensational. Whatever minor flaws one might find, Mavin
Khoo made it all fade away with his utmost dedication and
ended his recital impressively. The dancer and his team
received a very well deserved standing ovation at the end
from the viewers, that time in the auditorium and probably
now in their living rooms.
O.S. Arun’s rendering was melodic, and at the same time,
filled with emotion. He modulated his voice to match
the mood each time. The rest of the team also made
their efforts count, and they made it captivating
altogether.
The first three shows were streamed on consecu-
tive dates starting on the 15th of January, and the
last one was on the 7th of February. The event
was available to subscribers for a few weeks
afterwards on the Shaale platform. ●
33 MEMOIR
2021 JAN-FEB | VOL 03 | ISS 01
artograph
FROM PAGE 11 ►
journey as a critic. In the late nineties, when leading
newspapers had stopped print media publication of reviews, Sunil
turned to electronic media to continue his task. When no Indian train-
ing institutes were imparting the art of critiquing or organisations
supported the practice, he took it upon himself to raise awareness
on the topic. He set an example by showing what it means to critique
and how one can cultivate it. He also often encouraged the idea of
having a formal educational course on art criticism in premiere insti-
tutions. Considering his expertise and invaluable contributions, he
was honoured with several prestigious awards including Padma Shri
and the Central Sangeet Natak Akademi Award.
Considering his Throughout his professional career, he bravely clashed against many
expertise and invaluable hurdles. Even in his last few days, he remained true to his spirit.
contributions, Sunil Sunil fought vehemently against the order of the central government,
asking artists to vacate the government-allotted homes. “At such a
Kothari was honoured fragile age, it’s humiliating that we have to fight for our dignity.” said the
with several prestigious octogenarian scholar when the press asked for his response. [4]
awards including Though his end marked his grit and determination, the art commu-
Padma Shri and the nity deeply mourns the loss of a treasure to the dance field.
Central Sangeet Natak “Whatever they might say, moksha is in your work, and you can achieve
Akademi Award. nirvana...” the words of Sunil reverberates even after he has left the
stage. [1] In the practice of his craft, Sunil Kothari lived an immortal
life of salvation. ●
References
1. Arora, S. (2018, September 22). Watch dance, it will give you joy: Dr. Sunil Kothari's life
in dance. Retrieved Feb 28, 2021, from http://www.narthaki.com/info/intervw/intrv206.html
2. Iyer, A. (2016, December 16). Immersed in the world of nritya.
Retrieved Feb 28, 2021, from https://www.thehindu.com/entertainment/
dance/Immersed-in-the-world-of-nritya/article16841558.ece
3. Kothari, S. (2014, September 13). Constructive dance criticism. Retrieved
Feb 28, 2021, from https://narthaki.com/info/gtsk/gtsk104.html
4. Ara, I. (2020, November 18). Eminent artistes receive eviction notices to Vacate
government housing in Delhi. Retrieved Feb 28, 2021, from https://thewire.in/government/
eminent-artistes-receive-eviction-notices-vacate-government-housing-delhi

Sunil Kothari (1933 - 2020) born to Dahiben and Manilal Kothari on the 20th
of December 1933, is one who opened new frontiers in the field of art crit-
icism. Trained in Bharatanatyam and Kathak, this chartered accountant by
profession completed his doctoral studies on the dance drama traditions
of South India and Natyashastra in 1977 from M.S. University, Baroda and
was conferred D.Litt. by the Rabindra Bharti University. A Sangeet Natak
Akademi fellow, he had held the Uday Shankar Chair in Rabindra Bharati
University and taught in the Dance Department of New York University as
a Fulbright Professor. He played a pivotal role in establishing the School
of Arts and Aesthetics at the Jawaharlal Nehru University. He also served
as a member of the International Dance Council of Unesco and World
Dance Alliance Asia-Pacific. Sunil started his writing career with the Times
of India group of publications and has authored more than twenty books
including, ‘Sattriya: Classical Dance of Assam’, ‘New Directions in Indian
Dance’, and ‘Kuchipudi: Indian Classical Dance Art’, to name a few. For his
■ AVINASH PASRICHA

unparalleled contributions, he received several laurels including, Padma

Shri (2001), Sangeet Natak Akademi Award (1995) and Life Time Achieve-
ment Award of the Dance Critics Association, New York, USA (2011). ●
Additional text by Priyanka B.
artograph INSIGHT
2021 JAN-FEB | VOL 03 | ISS 01 34

നാടകാന്തം
കവിത്വം
തീർത്ഥ ഇ. പ�ൊതുവാൾ

നാ ടകത്തിന്റെ അവസാനഭാഗം, ശ്രീരാമന്റെയും

സീതയുടെയും പട്ടാഭിഷേകം. സർവ്വാഭരണ
വിഭൂഷിതരായി രാമനും സീതയും വേദിയുടെ
മധ്യത്തിലെ രാജകീയ സിംഹാസനത്തിൽ ഉപവിഷ്ഠരായിരിക്കുന്നു.
അരികിൽ രാമന്റെ പരമഭക്തനായ ഹനുമാൻ, സഹ�ോദരന്മാർ,
അങ്ങനെ ഏറ്റവും ഒടുവിൽ ഗന്ധർവാപ്സരസുകള�ോട�ൊപ്പം
നൃത്തച്ചുവടുവെച്ച് ഞാനും... പെട്ടെന്നാണ് കണ്ണുകൾ തുറന്നത്. എല്ലാം
ഒരു സ്വപ്നം. തമിഴ് നാട്ടിൽ, വിശിഷ്യാ ചെന്നൈയിൽ, നൃത്ത സംഗീത
വേദികൾ സജീവമാവുന്ന മാർഗഴി മാസത്തിന്റെ സ്വാധീനം.
രുഗ്മിണി ദേവി അരുണ്ഡേൽ എന്ന മഹാനർത്തകി ഭാരതത്തിന്റെ
ശാസ്ത്രീയ നൃത്തധാരയ്ക്ക് മുതൽകൂട്ടായി ചേർത്തുവെച്ച ‘കലാക്ഷേത്ര’യിലെ
നൃത്തനാടകങ്ങൾ അവിടെ നിന്നും പഠിച്ചിറങ്ങുന്നവരുടെ ഓർമ്മകളിൽ
തെളിഞ്ഞു നിൽക്കുന്നവയാണ്. നൃത്തത്തെപ്പറ്റി യാത�ൊരു ധാരണയുമില്ലാതെ
അവിടെയെത്തുന്ന കാണികളെപ്പോലും
അത്ഭുതപ്പെടുത്തുന്നവയാണവ.
അവിടെ നൃത്തം പഠിക്കാനെത്തു-

2014-ൽ കലാക്ഷേത്രയിൽ 'മഹാപട്ടാഭിഷേകം'

അരങ്ങേറിയപ്പോൾ ശ്രീരാമനായി
ഗിരീഷ് മധു, സീതയായി ശാരദ ആചാര്യ,
ഹനുമാനായി ഹരി പദ്മൻ തുടങ്ങിയവർ.
PHOTO: SREEDHAR VAIDYA
35 INSIGHT 2021 JAN-FEB | VOL 03 | ISS 01
artograph

രുഗ്മിണി ദേവി അരുണ്ഡേലിന്റെ നാൽപതുകളി- സൂര്യയുടെ വേദിയിൽ 'ശബരീമ�ോക്ഷം' അവതരിപ്പിക്കപ്പെട്ടപ്പോൾ ഗിരീഷ് മധുവും ശാരദ ആചാര്യയും ശ്രീരാമനും
ലെടുത്ത ഒരു ചിത്രം; അദ്ദേഹത്തിന്റെ നൂറാം സീതയുമായി അരങ്ങത്ത്.
ജന്മദിനത്തോട് അനുബന്ധിച്ച് കലാക്ഷേത്ര PHOTO: HAREE FOTOGRAFIE
പുറത്തിറക്കിയ പുസ്തകത്തിൽ നിന്നും.
PHOTO: WIKIPEDIA ന്നവർക്കാവട്ടെ, പഠനകാലയളവായ നാലു ക�ൊല്ലത്തിൽ
നാലനുഭൂതിയാവും ഈ നൃത്തനാടകങ്ങൾ സമ്മാനിക്കുക.

അല്പം ചരിത്രം
രുഗ്മിണി ദേവി അരുണ്ഡേൽ പന്തനല്ലൂർ ബാണിയുടെ
രുഗ്മിണി ദേവി സഹായത്തോടു കൂടി പദപ്രയ�ോഗമുള്ളൊരു ഭരതനാട്യശൈലി
സൃഷ്ടിച്ച് അത് വിദ്യാർത്ഥികളെ പഠിപ്പിക്കുന്നതിന�ൊപ്പം,
അരുണ്ഡേൽ എന്ന ആദ്യകാലം മുതൽ തന്നെ കെ.പി. കുഞ്ഞിരാമൻ, ചന്തു
മഹാനർത്തകി പണിക്കർ, അമ്പു പണിക്കർ എന്നീ കഥകളി ആചാര്യന്മാരുടെ
ഭാരതത്തിന്റെ ശാസ്ത്രീയ ശിക്ഷണത്തിൽ വിദ്യാർത്ഥികൾക്ക് കഥകളി അഭ്യസനവും
നൃത്തധാരയ്ക്ക് മുതൽകൂട്ടായി നൽകിയിരുന്നു. ഭരതനാട്യ നർത്തകർക്ക് അടിത്തറയായ
ചേർത്തുവെച്ച മാർഗത്തിനു പുറമേ നൃത്തത്തിന് പുതിയ�ൊരു രൂപം നൽകി
‘കലാക്ഷേത്ര’യിലെ വേറിട്ടതരം നൃത്തനാടകങ്ങളും ഇത�ോട�ൊപ്പം വിഭാവനം
ചെയ്തു. യക്ഷഗാനങ്ങളിൽ നിന്നും അല്ലെങ്കിൽ ആ കാലത്ത്
നൃത്തനാടകങ്ങൾ പ്രചാരത്തിലുണ്ടായിരുന്ന ഇതര നൃത്തനാടകങ്ങളിൽ നിന്നും
അവിടെ നിന്നും വിഭിന്നമായ ഒന്നായിരുന്നു ഇവ. കഥകളിയിലെ ചലനങ്ങൾ
പഠിച്ചിറങ്ങുന്നവരുടെ ഭരതനാട്യത്തിൽ സന്നിവേശിപ്പിക്കുകയും, മന�ോധർമ്മ
ഓർമ്മകളിൽ തെളിഞ്ഞു അഭിനയം, തിരശ്ശീല, മദ്ദളം, വലിയ കൈത്താളങ്ങൾ തുടങ്ങിയവ
നിൽക്കുന്നവയാണ്. ഈ നാടകാവതരണങ്ങളിൽ ഉപയ�ോഗിക്കുകയും ചെയ്തു.
ഇരുപത്തഞ്ചോളം നൃത്തനാടകങ്ങളാണ് രുഗ്മിണി ദേവി
ഈ രീതിയിൽ അരങ്ങിലെത്തിച്ചത്. ആറു ഭാഗങ്ങളുള്ള
'രാമായണം' തന്നെയാവും ഇവയിൽ ഏറ്റവും മികച്ചത്. വാത്മീകി
രാമായണത്തെ അടിസ്ഥാനമാക്കി, അതിലെ സംസ്കൃത
ശ്ലോകങ്ങൾ തന്നെയുപയ�ോഗിച്ച്, തയ്യാറാക്കിയിരിക്കുന്ന
ഈ നൃത്തശില്പം പൂർണരൂപത്തിൽ അവതരിപ്പിക്കുന്നത്
അപൂർവം. സീതാസ്വയംവരം (1954), ശ്രീരാമവനാഗമനം
(1960), പാദുകപട്ടാഭിഷേകം (1960), ശബരീമ�ോക്ഷം (1965),
THEERTHA E. PODUVAL is a Bharatanatyam
dancer and teacher, following the art
ചൂഡാമണിപ്രദാനം (1968), മഹാപട്ടാഭിഷേകം (1970) എന്നിങ്ങനെ,
form right from a tender age. She is an
alumnus of Kalakshetra and a Doordar-
പതിനാറ് വർഷകാലയളവിലാണ്, 'രാമായണ' പരമ്പരയിലെ
shan graded artist, Currently, she ആറ് ഭാഗങ്ങൾ പൂർത്തിയാക്കിയത്. കലാനിരൂപകനായിരുന്ന
pursues advanced studies under gurus
Shijith Nambiar and Parvathy Menon. വെങ്കിടാചല ശാസ്ത്രി, യക്ഷഗാന കലാകാരനായ ആദിനാരായണ
artograph INSIGHT
2021 JAN-FEB | VOL 03 | ISS 01 36
ശർമ്മ, നർത്തകിയായ എസ്. ശാരദ ഇത്തരത്തിൽ പരീക്ഷണങ്ങൾ നടത്തിയും
എന്നവരുടെ പിൻബലം വേണ്ടുവ�ോളമുണ്ടായിരുന്നു തിരുത്തിയുമാണ് ഓര�ോ നാടകവും രുഗ്മിണി ദേവി
രുഗ്മിണി ദേവിക്ക്. അദ്ദേഹം എന്നും മുന്നോട്ടു പൂർത്തിയാക്കിയതെന്ന് വി.പി. ധനഞ്ജയനും ശാന്ത
വെച്ച ദർശനമായ 'art without vulgarity' ധനഞ്ജയനും ചേർന്നെഴുതിയ 'രുഗ്മിണി ദേവി - ദി
എന്നതിലൂന്നിയാണ് ഈ നാടകങ്ങളെല്ലാം തന്നെ ക�ോറിയ�ോഗ്രാഫർ' എന്ന ലേഖനത്തിൽ പറയുന്നു.
സംവിധാനം ചെയ്തിരിക്കുന്നത്. ആ സങ്കൽപത്തിന് നൃത്തനാടകങ്ങളുടെ പ്രധാന പിൻബലം അതിന്റെ
യ�ോജിച്ച രീതിയിൽ വിവിധ കഥാപാത്രങ്ങളെ സംഗീത സംവിധാനമാണ്. പിന്നണി സംഗീതം
അവതരിപ്പിച്ച് ഫലിപ്പിക്കാൻ അന്നുണ്ടായിരുന്ന അരങ്ങിലെ നൃത്തത്തോട�ൊപ്പം മികവുറ്റതാവുന്ന,
പ്രഗത്ഭ കലാകാരന്മാർക്കുമായി. ആദ്യകാലത്ത് ആസ്വാദകരുടെ ശ്രദ്ധ പക്കവാദ്യങ്ങളിൽ കൂടി
ഇവയിലെ പ്രധാന കഥാപാത്രങ്ങളെ പതിയുന്ന സന്ദർഭങ്ങൾ ഒട്ടേറെയുണ്ട് ഈ
അവതരിപ്പിച്ചത് നർത്തകരായ വി.പി. ധനഞ്ജയൻ നാടകങ്ങളിൽ. മൈസൂർ വാസുദേവാചാര്യയും
(രാമൻ), സി.കെ. ബാലഗ�ോപാലൻ (ലക്ഷ്മണൻ, അദ്ദേഹത്തിന്റെ ക�ൊച്ചുമകനായ രാജാറാമും
ഹനുമാൻ), എം. ഉമ (സീത), പുഷ്പ ശങ്കർ ചേർന്നു ചെയ്തിട്ടുള്ള സംഗീത ക്രമീകരണങ്ങൾ
(ശൂർപ്പണഖ), ഒപ്പം കഥകളി ആചാര്യനായ കെ.പി. അനുപമമാണ്. 'ചൂഡാമണിപ്രദാന'മെന്ന
കുഞ്ഞിരാമൻ (രാവണൻ) മുതൽപേരായിരുന്നു. നാടകത്തിൽ രാമൻ ലക്ഷ്മണന�ോട് സീതയെ
ഓർത്ത് വിലപിക്കുന്ന "പശ്യ ലക്ഷ്മണാ..."
പുതുവഴികൾ ഒരു ഉദാഹരണം. സിന്ധുഭൈരവിയിൽ
ആദ്യ നാടകമായ 'സീതാസ്വയംവര'ത്തിൽ ചിട്ട ചെയ്തിരിക്കുന്ന ഈ ഭാഗം വല്ലാത�ൊരു
നിന്നും പതിനാറ് വർഷങ്ങൾക്കിപ്പുറം അനുഭൂതിയാണ് പ്രേക്ഷകർക്ക് നൽകുക.
'മഹാപട്ടാഭിഷേക'ത്തിലെത്തുമ്പോൾ മികവുറ്റ
സംഗീതമെന്ന പ�ോലെ പ്രാധാന്യമുള്ളവയാണ്
പല മാറ്റങ്ങളും നമുക്ക് അനുഭവവേദ്യമാവും.
വേദിയിലെ ശബ്ദ-വെളിച്ച ക്രമീകരണങ്ങളും,
ഓര�ോ ഭാഗത്തിന്റെയും കുറവുകൾ പരിഹരിച്ചാണ്
ഒപ്പം വസ്ത്രാലങ്കാരവും. ഓര�ോ രംഗത്തിനും
അടുത്ത ഭാഗം രുഗ്മിണി ദേവി ഒരുക്കിയിട്ടുള്ളത്.
ഉതകുന്ന രീതിയിലുള്ള പ്രകാശവിന്യാസങ്ങളാണ്
ഒരു ഭാഗം ശരിയായി വന്നില്ലെങ്കിൽ ആ ഭാഗം
ഈ നാടകാവതരണങ്ങളിൽ കാണാനാവുക.
മാത്രമായി, അല്ലെങ്കിൽ അതുൾപ്പെടുന്ന
'ചൂഡാമണിപ്രദാന'ത്തിലെ തന്നെ മറ്റൊരു
മുഴുവൻ രംഗം തന്നെ, പുനഃസൃഷ്ടിക്കാൻ
രംഗം അതിനുദാഹരണമാണ്. ഹനുമാൻ
അദ്ദേഹം സദാസന്നദ്ധയായിരുന്നു.
സമുദ്രലംഘനത്തിന് തയ്യാറെടുക്കുന്ന
സൂര്യയിലവതരിപ്പിച്ച 'ശബരീമ�ോക്ഷ'ത്തിൽ നിന്നുമ�ൊരു രംഗം. ശാരദ ആചാര്യ ഭാഗത്ത്, സാഗരാപ്സരസുകൾ വേദിയിലേക്ക്
(സീത), ഗിരീഷ് മധു (ശ്രീരാമൻ), ഗീതാനന്ദൻ പി.കെ. (ലക്ഷ്മണൻ), സായ് കൃഷ്ണൻ
(ജടായു) തുടങ്ങിയവർ.
പ്രവേശിക്കുമ്പോൾ അരങ്ങാകെ നീല വെളിച്ചം
PHOTO: HAREE FOTOGRAFIE നിറയും. ഈ കാലഘട്ടത്തിൽ ഇത്തരം വെളിച്ച
37 INSIGHT
2021 JAN-FEB | VOL 03 | ISS 01
ക്രമീകരണങ്ങൾ സാങ്കേതികവിദ്യയുടെ കൂടി
സഹായത്തോടെ അനായാസം ചെയ്യാനാവും.
എന്നാൽ പതിറ്റാണ്ടുകൾ മുൻപു തന്നെ ഈ
രീതിയിൽ ചിന്തിക്കാനും അത് അരങ്ങിൽ
പ്രാവർത്തികമാക്കാനും നാടകത്തിന്റെ
പിന്നണിയിൽ പ്രവർത്തിച്ചവർക്ക് കഴിഞ്ഞു
എന്നതാണ് അത്ഭുതപ്പെടുത്തുന്ന കാര്യം.
വിദേശരാജ്യങ്ങൾ സന്ദർശിച്ച് അവിടങ്ങളിലെ
വേദികളെക്കുറിച്ചും പ്രകാശസംവിധാനത്തെക്കുറിച്ചും
മനസിലാക്കാനായതും, അത�ോട�ൊപ്പം
ബാലെയുടെ സ്വാധീനവുമാവാം ഈ
രീതിയില�ൊക്കെ തുറന്നു ചിന്തിക്കാൻ രുഗ്മിണി
ദേവിയെ പ്രാപ്തയാക്കിയത്. കഥാപാത്രങ്ങളുടെ
മുഖത്തെഴുത്തിലും ചില മെയ്ക്കോപ്പുകളിലുമ�ൊക്കെ നൃത്തനാടകങ്ങൾ പരിശീലനം ചെയ്യുകയും
കഥകളിയുടെ സ്വാധീനവും പ്രകടമാണ്.
ഒരാനയെ വിറളിപിടിപ്പിക്കാൻ ഒരുറുമ്പുമതി
എന്നു പറയുന്നതു പ�ോലെ, ഒരു രണ്ടു മണിക്കൂർ
നാടകത്തിന് ഏറ്റക്കുറച്ചിലുകൾ സംഭവിക്കാൻ
ഒരു ഭടന്റെ വേഷം ചെയ്യുന്ന കലാകാരന്
പിഴച്ചാലും മതി. ഇതുൾക്കൊണ്ട്, ചെറിയ
കഥാപാത്രങ്ങൾക്ക് പ�ോലും വലിയ സാന്ദർഭിക
ശ്രദ്ധ നൽകിയാണ് രുഗ്മിണി ദേവി തന്റെ
നാടകങ്ങളിൽ ചിട്ടചെയ്തിട്ടുള്ളത്. അതിനാൽ തന്നെ പ്രേക്ഷകരെ ആ അനുഭവത്തിന്റെ
'രാമായണ'മെന്ന ഇതിഹാസകാവ്യത്തിലെ
മുഖ്യകഥാപാത്രങ്ങളിലുപരി, മറ്റു ചില
കഥാപാത്രങ്ങളാവാം ഓര�ോ പ്രേക്ഷകന്റെ
മനസ്സിലും തങ്ങിനിൽക്കുക. ഉദാഹരണത്തിന്
ശൂർപ്പണഖ. നിർമ്മല നാഗരാജനെപ്പോലെ
ഒരു പ്രഗത്ഭ നർത്തകി അവതരിപ്പിച്ചു
കാണുമ്പോൾ, എന്തുക�ൊണ്ടാണ്
artograph
ശൂർപ്പണഖയെ രാമലക്ഷ്മണന്മാർ ഈ
വിധത്തിൽ അവഹേളിച്ചതെന്നും എന്തു
തെറ്റിന്റെ പേരിലാണ് ഈ വിധമ�ൊരു ശിക്ഷ
നൽകിയതെന്നും ചിന്തിക്കാതിരിക്കാനാവില്ല.
അതുപ�ോലെ ശ്രദ്ധ നേടുന്നൊരു
കഥാപാത്രമാണ് ഹനുമാൻ. ഒരു പ�ോലെ
ചിരിപ്പിക്കുകയും ചിന്തിപ്പിക്കുകയും ചെയ്യുന്നൊരു
പാത്രസൃഷ്ടിയാണ് രുഗ്മിണി ദേവി ഹനുമാന്
നൽകിയിരിക്കുന്നത്. ആദ്യകാലത്ത് സി.കെ.
ബാലഗ�ോപാലൻ അവിസ്മരണീയമാക്കിയ
ആ കഥാപാത്രം അതേ തനിമയ�ോടെ
ഇന്ന് ഹരി പദ്മൻ അവതരിപ്പിക്കുന്നു.
കലാക്ഷേത്രയിലെ രുഗ്മിണി അരംഗത്തിലാണ്
അവതരിപ്പിക്കുകയും ചെയ്തു വരുന്നത്.
പരമ്പരാഗത രീതിയിൽ നിർമ്മിച്ച മന�ോഹരമായ
വേദിയിൽ ഈ നാടകങ്ങൾ അതിന്റെ സകല
പ്രൗഢിയ�ോടും കൂടി അവതരിപ്പിക്കപ്പെടുമ്പോൾ
വളരെ മികച്ചൊരു അനുഭവമാണ് പ്രേക്ഷകർക്കും
ലഭിക്കുന്നത്. എല്ലാക്കൊല്ലവും ഡിസംബറിലെ
കലാക്ഷേത്ര ഫെസ്റ്റിവലിന്റെ അവസാന ദിവസം
അരങ്ങേറുന്ന 'മഹാപട്ടാഭിഷേക'മാവട്ടെ,
പാരമ്യത്തിലെത്തിക്കുകയും ചെയ്യുന്നു.
ഏറ്റവും ജനപ്രിയ കലാരൂപമായ സിനിമ
പ�ോലും ഒന്നോ രണ്ടോ തവണയിലധികം
കാണുമ്പോൾ വിരസത അനുഭവപ്പെടും.
എന്നാൽ, അനിർവചനീയമായ ഊർജ്ജവും
ആഹ്ലാദവും നൽകുന്ന രുഗ്മിണി ദേവിയുടെ
നൃത്തനാടകങ്ങള�ോര�ോന്നും ഓര�ോ കാഴ്ചയിലും
ഹൃദയത്തോട് കൂടുതൽ അടുക്കുന്നു.
നാടകത്തിന്റെ പരമകാഷ്ഠയാണ് കവിത എന്നു
ജ�ോസഫ് മുണ്ടശ്ശേരി അഭിപ്രായപ്പെട്ടങ്കിൽ,
നാടകം തന്നെയ�ൊരു കവിതയാവുന്ന
സവിശേഷാനുഭവമായിത്തീരുന്നു രുഗ്മിണി ദേവി
ഒരുക്കിയ കലാക്ഷേത്രയുടെ നൃത്തനാടകങ്ങൾ,
വിശിഷ്യാ രാമായണ പരമ്പര. ●
2017 നവംബർ മാസം ഫിജിയിൽ കലാക്ഷേത്ര 'ശബരീമ�ോക്ഷം' അവതരിപ്പിച്ചപ്പോൾ
ശൂർപണഖയായി നിർമ്മല നാഗരാജൻ.
SCREEN CAPTURE
ARCHIVE.ORG - MAHAPATTABHISHEKAM VHS VIDEO
tinyurl.com/ag-mahapattabhishekam
artograph TALKING FRAMES
2021 JAN-FEB | VOL 03 | ISS 01 38
S halini P.S. is a passionate macro photographer hailing from Kottukal in
Thiruvananthapuram. A post-graduate in Communications and Public
Relations, Shalini’s photographic journey began almost a decade back. Her
version of wildlife is quite different, marked by a shift from the conventional
approach focussing on safaris and forest explorations. With a keen eye for
the vast biodiversity in the immediate neighbourhood, she has captured
around three hundred macro life species in the past eight years. The second
prize winner in Wildlife Photography Contest conducted by the Kerala Forest
Department (2020), Shalini functions as a birding and trekking coordinator in
FEATURED

SHALINI
the career front and owns the trekking company Nature and Wildlife Team
based in Thattekkad.

P.S. How did you get into photography?

I have always been a keen observer of the life of bugs and flies in my garden.
The beautiful shades of macro life excited me to document them through
pictures. My father, a hobbyist in gardening and collection of photos, moti-
vated to advance my interests further.

About your area of interest in photography...

Macro, for sure. Capturing the tiny creatures is a very challenging task. For
getting minute details, uncertain to the normal vision, one has to put in a lot
FACEBOOK - SHALINI P.S. of effort. My interest is not just limited to capturing these lives. I study their
fb.me/shalinistillhere behaviour, habitat, and in this way, a lot of learning also happens.

And your current gear in use...

I use the camera Canon 70D supported by lenses 100mm macro and 100-
400mm. ●

Home affairs: A pair of wasps as they remove excess moisture from their nest. The minuscule Love in the air: A pair of damselflies (Copera
water globes expelled, creates the impression of these creatures blowing perfectly round marginipes) sharing an intimate moment
bubbles. during their mating phase.
EXPOSURE: 1/100 | F11 | ISO 400 EXPOSURE: 1/640 | F2.8 | ISO 4000
CANON EOS 70D / EF 100MM F2.8 MACRO USM CANON EOS 70D / EF 100MM F2.8 MACRO USM
39 TALKING FRAMES
2021 JAN-FEB | VOL 03 | ISS 01
artograph
 artograph GENERAL
2021 JAN-FEB | VOL 03 | ISS 01 40
Playlist Readers’ Response
‘Muthai Tharu’ ft. S. Aishwarya
& S. Saundarya
04:07 | 2021 Feb 17
Arunagirinathar describes Lord Murugan as
an embodiment of beauty, elegance and
exquisiteness in this song, and is sung by S.
Aishwarya and S. Saundarya.
Watch it here: bit.ly/ag-muthai-tharu

‘Madhura Murati’ ft. Santasree

Sasmal & Jagyandatta Pradan
04:28 | 2021 Jan 27
Celebrating the song of love by losing them-
selves in the eternal dance of the two souls,
Santasree Sasmal teams up with Jagyandatta
Pradan in this dance video.
Watch it here: bit.ly/ag-madhura-murati

‘Nrithya Gandharva’ by
Vinu Vasudevan One of a kind magazine
1:04:52 | 2020 Jan 24 The contents of the magazine are
good. I always find it interesting to
A documentary on acclaimed Bharatanatyam
exponent, Guru C.V. Chandrasekhar, directed
read the issues. After each issue,
by Vinu Vasudevan, and produced in the it is getting better and better.
banner of Madhura Kala Niketan. Looking forward to more.
Watch it here: bit.ly/ag-nrithya-gandharva
Prashobh I.L.
Art Enthusiast (T'puram, Kerala)
‘Andal Kauthvam’ ft.
Sukanya Kumar Celebrating art and artists
06:28 | 2021 Jan 04 For me, who loves art immensely I
Celebrating the month of margazhi associ- have been able to get a very clear
ated with the first woman saint poet of India understanding of each art form
- Andal for her unabashed love and devotion
towards Lord Ranganatha. through Artograph. Along with art,
the magazine speaks about the
Watch it here: bit.ly/ag-sk-andal
artists and their life experience.

‘Shiva Tandav’ ft. Navin Shanker, Sabna Sasidharan

Sai Vignesh & Kavya Muralidaran Art Enthusiast (T'puram, Kerala)

05:52 | 2021 Jan 01

Directed by Nivetha Baskaran in the banner
of Gandiva, ‘Shiva Tandav’ features musicians
Navin Shanker, Sai Vignesh, and dancer Kavya
Muralidharan.
Watch it here: bit.ly/ag-st-gandiva

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