artograph

A NEWNMEDIA™ PUBLICATION

2020 JUL - AUG | VOL 02 | ISS 04

A BI-MONTHLY, BILINGUAL E-MAGAZINE FOCUSING ON ARTS | PUBLISHED BY NEWNMEDIA™ FROM KERALA, INDIA | 2020 JUL-AUG VOLUME 02 ISSUE 04 | PAGES: 40 | HTTP://ARTOGRAPH.NEWNMEDIA.IN

Kathakali
when streamed live
A lot of online dance and music events are happening
lately, and Kathakali is not left behind. Among many
ventures, a handful of them excelled in the technical
front as well.

Driven by passions
Vinu Vasudevan gives an overview of the multifaceted artistic career
of Venu G., noted Kutiyattam exponent.

The classical diva

Sneha Sasikumar in conversation with noted dance vocalist
Bhagyalakshmi Guruvayur.

Navarasa crossing bounds

Gopika Raj Pillai writes about ‘Navarasa Sadhana’ an online
workshop organized by Natanakairali.
 CONTENTS
2020 JUL-AUG | VOL 02 | ISS 04 02

Vol 02 Iss 04
Driven by passions 04
Vinu Vasudevan

WATCH OUT
KULDEEP M. PAI
നൃത്തവല്ലരി 08
Divya Nedungadi
KALAMANDALAM SOMAN The classical diva 12
as Naraka in 'Narakasuravadham' Sneha Sasikumar
Kathakali organized by Kunchu Nair
Smaraka Trust, Karalmanna in 2011. Kathakali when streamed live 16
PHOTO: HAREE FOTOGRAFIE Hareesh N. Nampoothiri

STUDIO
PARVATHY CHANDRAN
Cultural rendezvous 22
Priyanka B.

Recharging the spirits 28

Hareesh N. Nampoothiri

Navarasa crossing bounds 31

Gopika Raj Pillai

The everyday dance spaces 34

Sreelekshmi Namboothiri

TALKING FRAMES
A NEWNMEDIA™ PUBLICATION
LEAD PHOTOGRAPHY: HAREE FOTOGRAFIE
NOUSHAD K.A.
DESIGN & LAYOUT: NEWNMEDIA™

SHARED UNDER
CC BY-NC-ND 4.0

THE ORIGINAL RIGHTS OF THE TEXTS AND THE PHOTOGRAPHS

RESERVED TO RESPECTIVE OWNERS. THE CC LICENSE IS VALID
ONLY FOR THE E-MAGAZINE IN ITS EXACT FORM.
ADVT.
03 EDITORIAL
2020 JUL-AUG | VOL 02 | ISS 04
artograph

The new norm

I
t’s been more than six months since the first lockdown in the
country unsettled our routines. And we don’t know when we will
get back to that normal or if we ever will. Learning to live with the
virus seems to be the way forward at least for the time being. Making
necessary changes in our daily life is inevitable. The field of art is also
in such a phase trying to make a move forward.
Live programs, streamed premiers, and online art festivals happen
through social media platforms regularly. They are not any more
A sustainable
amateur attempts like in the early months but are professionally system taking into
staged, recorded, and telecasted online events. account different
However, this also brings up the question of sustainability. Most of aspects and serving to
the festivals and streamed shows feature youngsters and upcoming everyone is what the
dancers. There is no question of their abilities, but whether they are
getting any remuneration is doubtful in most cases. That could be art world expects.
a reason why we do not see many events with senior artists taking
part. It wouldn’t benefit the artists or the art in the long run.
The annual dance and music season is around the corner, and many
discussions are happening on what are the chances and how it can
be made possible. Since online events can serve a wider audience,
there’s always a possibility of revenue from multiple channels. But
the organizers need to make sure they deliver an experience worth
paying. It is critical to have a professional team handling the cover-
age, along with the lineup of artists.
Put it shortly, the shows must go on, and they must go on well, but not
at the expense of the artists. A feasible plan considering all aspects is
what the art world expects.

Hareesh N. Nampoothiri

CONTRIBUTORS
TEXTS: DIVYA NEDUNGADI, GOPIKA RAJ PILLAI, PRIYANKA B., SNEHA SASIKUMAR, SREELEKSHMI NAMBOOTHIRI, VINU VASUDEVAN
PHOTOS: JAYALEKSHMI R., NATANAKAIRALI, NITHIN NARAYANAN, RUSSELL HAYDN, SANDEEP NAMBOOTHIRI, SREERAJ T.
EDITORIAL TEAM
CHIEF EDITOR: HAREESH N. NAMPOOTHIRI
ASSOCIATE EDITOR: PRIYANKA B.
MEMBERS: MEERA SREENARAYANAN, NAVYA VINOD, SETHUNATH U.N., VANI SANKAR

DISCLAIMER: THE OPINIONS AND VIEWS EXPRESSED IN THE WRITE-UPS ARE THOSE OF THE RESPECTIVE AUTHORS AND
DO NOT NECESSARILY REFLECT THE OFFICIAL POLICY OR POSITION OF THE MAGAZINE.

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artograph
passions
DRIVEN BY
VINU VASUDEVAN
A
n inspirational icon for many young artists
and art connoisseurs, Gopal Venu, the found-
er-director of ‘Natanakairali - Research
Training and Performing Centre for Traditional
Arts’, turned 75 this July. His journey through arts
was a little different, though he had learned and
trained traditionally. Despite his immense contri-
butions to the field of performing arts which have
been appreciated by many in India and abroad,
whether the traditional space in Kerala has ever
recognized the multifaceted persona is rather
doubtful. There seems to be some reluctance in
accepting him either as an artist or a scholar. Here
is an insight into his lustrous career.
A noteworthy beginning
Born in Nedumangad, the southern boundary of
Kerala in the year 1945, G. Venu was interested in
classical art forms since childhood. Exploring his
taste in Kathakali, his father started a ‘Kathakali
Kalari’ near the house. Keerikkattu Sankara Pillai
was his guru. During the training, he had under-
gone many hectic physical exercises to tune the
body. He was also taught folk dance at the same
time. After studies in 1963, young Venu joined
‘Vishwakalakendram’, an art school run by Guru
Gopinath in Thiruvananthapuram. There, he had
the good fortune to interact with many eminent
INSPIRE
2020 JUL-AUG | VOL 02 | ISS 04 04
personalities and blessed opportunity to share
Kathakali stages with exponents like Vazhenkada
Kunju Nair, Kalamandalam Krishnan Nair, and
Chengannur Raman Pillai. His passion for explor-
ing the notations in ‘Mudras’ shifted him from the
stages to the efforts aimed at documenting them.
Though economically secure, the desire to explore
new genres in art, led him to leave the institution.
By that time, he had created a vast network with
maestros of several art forms at the national level.
This exposure helped him go beyond the barriers
of a mere performer. He was keen on document-
ing the hand gestures, and as a result of his sheer
hard work and dedication, he was able to publish
his first book ‘Alphabets of Gestures of Kathakali’
in the year 1968 at the age of 23. He had penned
many more titles at different stages which include
‘Puppetry and Lesser-known Dance Traditions
of Kerala’, ‘The language of Kathakali’, ‘Kathakali
Mudra Nighandu’ and so on.
After his work on mudras, G. Venu joined the
School of Drama, Thrissur to secure his financial
position. During this period, Venu used to visit Sree
Vadakkunnathan Temple, where Kutiyattam is
traditionally staged for forty-one days every year.
There, he was overwhelmed by the performance of
legendary Kutiyattam artist Ammannur Madhava
05 INSPIRE
2020 JUL-AUG | VOL 02 | ISS 04
artograph
Chakyar. Along with academicians like K.P. Narayana Pisharody and
L.S. Rajgopal, Venu joined the intellectual discussions on the aesthet-
ics of the art. These all motivated him to start learning Kutiyattam at
the age of 34, under the maestro himself. Though the training was
vigorous, Venu quickly grasped the nuances of the art form because
of his initial training in Kathakali and high voltage passion. ‘Amman- An inspirational icon
nur Chachu Chakyar Smaraka Gurukulam’ was established during for many young artists
the period. After the training, he performed various roles with many and art connoisseurs
accomplished artists.
Gopal Venu, the
Reviving and propogating founder-director of
Venu’s initiative to give maximum exposure to some of the art forms ‘Natanakairali’ turned
like ‘Tholpavakkoothu’ and ‘Pavakkathakali’ led him to interna-
tional venues. He was the person behind the revival of ‘Kakkarissi 75 this July.
Natakam’ in Kerala. Another milestone in his artistic career is the for-
mation of Natanakairali, a centre for classical arts. On his initiative,
the Kutiyattam version of Kalidasa’s ‘Abhijñānaśākuntalam’ was pre-
miered there. He not only played a pivotal role in reviving some of
the vanishing performing arts but also got involved in the promotion
G. Venu is an acclaimed Kutiyattam exponent,
of existing art forms like Kutiyattam, Kathakali, and Mohiniyattam actor, and trainer.
into new heights. He is also responsible for shaping an outlook for PHOTO: NATANAKAIRALI

Kutiyattam as we perceive today.

Venu’s latest achievement in the realm of arts is ‘Navarasa
Sadhana’ - the technique of evoking the nine sentiments.
His inspiration for developing this system came from
the ‘Abhinaya Kalari’ of Kodungallur Palace. Experts
like Pattikkamthodi Ravunni Menon and Thek-
kinkattil Ravunni Nair had earlier tried to explore
this technique of ‘Swara Vayu’ before. The essence
of this lies in the influence of breath to produce a
‘Swara’. Venu opines that he had experienced it
only after joining for Kutiyattam training under
Ammannur Madhava Chakyar.
Interpreting the nine rasas
Venu has devised his ‘Navarasa Sadhana’ module
as a transformative process for those artists seeking
an insight into the depths and diversity of human
emotions. This new method of acting technique got
widely accepted in foreign countries and at art
universities.
“The academicians or the actors in the past
hardly explored the ‘Vyabhichari Bhava’
aspects of Natya Shastra. Bharata
mentioned about only eight ‘Rasas’,
and it was Abhinavagupta, who
included the ninth emotion
of ‘Shantha’. If we make
artograph INSPIRE
2020 JUL-AUG | VOL 02 | ISS 04 06
a close examination of Bharata’s
theory, we can identify ‘Nirveda’
- the total detachment from all
senses.”, explains Venu. ‘Navarasa
Sadhana’ reflects this vision.
An inspiring persona
Venu’s house at Irinjalakuda is
a real art campus, accompanied
by his wife Nirmala Panicker,
senior Mohiniyattam dancer and
daughter Kapila Venu, a gifted
Kutiyattam performer. Those
who paid a visit to his home might
have noticed the fragrance of art
abounds in the entire compound.
The trio is always busy with new
experiments and productions
in the field of arts. During his
career of art activism spanning
six decades, Venu had published
eighteen books on different sub-
jects concerning art and theatre.
He had worked as a guest faculty
in some of the foreign and Indian
art universities. Having made a
mark of his own, Venu is enjoying
life in memory of the marvellous
period he had spent worldwide
to promote arts.
To honour the thespian on his
75th birthday, art enthusiasts and
friends planned a facilitation
programme on the 1st of July.
However, in the wake of COVID-
19, the celebrations were limited
to online platforms. Natanakai-
rali conducted a webinar where
art students and friends from
different parts of the world came
together to share their expe-
riences with him. During his
speech, Venu enumerated on his
childhood training and expressed
delight in his artistic voyage. As
one could make out from the
discourse, he has dedicated his
life for his passion and will stay
active in the time ahead. ●
VINU VASUDEVAN, is an experienced
NATANAKAIRALI

art critic and columnist with a career

spanning across two decades. A guest
faculty of journalism at Kerala Kalaman-
dalam, he has directed several art-based
short films and documentaries including
a biopic on Kottakkal Gopi Nair.
■
07 WATCH OUT
2020 JUL-AUG | VOL 02 | ISS 04
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FEATURED

KULDEEP
M PAI
The YouTube channel
‘Kuldeep M Pai’ aims
to popularise Indian
cultural heritage
through the medium
of music.

STATISTICS: NOXINFLUENCER
TEXT: PRIYANKA B.

Joined on Average Video Views

K uldeep Muralidhar Pai is a noted Carnatic vocalist, musician, composer,
and music producer hailing from Kochi in Kerala. A gold medalist in
Masters of Indian Classical Music at the University of Madras and a diploma
2013 AUG 13 638.78K holder in sound engineering, his zeal for music made him a YouTube celeb-
Subscribers Total Videos
1.57M 102
rity among the classical circle.
Total Views The YouTube channel ‘Kuldeep M Pai’ launched in the year 2013 aims to
542.65M popularise Indian cultural heritage through the medium of music. Kuldeep
is arguably the first Indian classical musician to explore the possibilities of
the social video platform. The regularly published, aesthetically appealing
* Data as on 2020 Aug 31.
videos have fetched over a million subscribers and more than fifty crore
views. The mentor and guide of many musical prodigies like Sooryagayathri,
Rahul Vellal, Bhavya Ganapathi, and Raghuram Manikandan, the music pro-
ductions involving Kuldeep along with them are an endearing watch.
The videos published under the recording label ‘Chith’ includes traditional
songs, bhajans, and popular krithis besides special performances on festive
occasions. The ‘Vande Guru Paramparaam’ spiritual musical series concep-
tualized half a decade back, for the revival and spread of Indian patrimony
became hugely popular. Over sixty videos got produced under this series,
including songs on Rama, Shiva, and Krishna.
‘Learn Bhagavat-Gita with Ishaan Pai and Kuldeep Pai’, the latest initiative
from him aims to impart spiritual knowledge through the traditional method
of teaching-learning. The efforts of the channel in popularising Indian classi-
cal music are widely acknowledged, with high-quality productions cheered
mostly by the youngsters.
Channel link: youtube.com/kuldeepmpai

THIS SEGMENT FEATURES YOUTUBE CHANNELS THAT PROMOTE

CLASSICAL DANCE AND MUSIC RELATED CONTENT.
artograph INSPIRE
2020 JUL-AUG | VOL 02 | ISS 04 08

നൃത്ത
വല്ലരി ദിവ്യ നെടുങ്ങാടി

ദൃ ശ്യകലകളിൽ ശ്രേഷ്ഠമായി ലെനിൻ കണക്കാക്കുന്ന

ചലന ചിത്രത്തിന്റെ പരിപ്രേക്ഷ്യത്തിലേക്ക്
ഭരതനാട്യത്തിന്റെ പര്യായമെന്നപ�ോൽ അലർമേൽ
വള്ളിയെ സങ്കൽപ് മേഷ്റാം ചേർത്തുവെച്ചപ്പോൾ ‘ലാസ്യ
കാവ്യ’ മികച്ചൊരനുഭവമായി. വള്ളിയുടെ ഭരതനാട്യത്തിന്റെ
കേവലമായ രേഖപ്പെടുത്തലുകൾക്കുപരിയായി
വള്ളിയിലെ വ്യക്തിയെ, ചിന്തകളെ, അദ്ദേഹത്തിന്റെ
ആവിഷ്കാരസത്തയെ ഒക്കെ സംവിധായകൻ
മേഷ്റാം കൃത്യമായി ഇതിലൂടെ വരച്ചുകാട്ടുന്നുണ്ട്.
2011-ൽ പുറത്തിറങ്ങിയ ‘ലാസ്യകാവ്യ’യ്ക്ക് ആ
വർഷത്തെ മികച്ച ആർട്ട് ഡ�ോക്യുമെന്ററിക്കുള്ള
കേന്ദ്രസർക്കാരിന്റെ നാഷണൽ ഫിലിം ഫെയർ
പുരസ്കാരവും ലഭിച്ചു. എന്നാൽ 2020 ആഗസ്തിൽ
‘ആലാപി’ന്റെ യൂട്യൂബ് ചാനലിലൂടെ സ്ട്രീം ചെയ്തപ്പോൾ
മാത്രമാണ് ഇത് കൂടുതൽ പേരിലേക്കെത്തിയത്.
വള്ളി - കാഴ്ചയിൽ മൃദുലം, എന്നാൽ ഉറച്ച തായ്
വേരുകളിൽ പടർന്നുകയറുന്ന മായാജാലം! പേരു
പ�ോലെ വള്ളിയുടെ നൃത്തത്തിനുമാധാരം അവർ ഉപ്പൂറ്റി
യുറപ്പിച്ച പന്തനല്ലൂർ ശൈലിയുടെ കളരിബലം തന്നെ
യാണെന്നത് ഈ ഡ�ോക്യുമെന്ററിയിലൂടെ അനുഭവവേദ്യ
മാകുന്നുണ്ട്. ദേശിന്റെ സൗന്ദര്യാനുഭൂതിയിൽ വിടരുന്ന
താമര കാപിയുടെ ഖിന്നതയിലേക്കെത്തുമ്പോൾ
ലയത്തിന്റെ മധ്യത്തിലേക്ക് ചേർക്കുന്ന ഉടലിന്റെ
സംഗീതമല്ലേ വള്ളി എന്ന് ത�ോന്നിപ്പോകും.
കാവ്യത്തെ നർത്തകിയാക്കിയ കവിഭാവനയ്ക്കുമപ്പുറത്ത്
നർത്തകി തന്നെയ�ൊരഭൗമകാവ്യമാകുന്ന
അനുഭവതലത്തിലേക്ക് ഈ ചിത്രത്തിന്റെ
എഴുപത്തിയഞ്ച് മിനിറ്റുകൾ നമ്മെ ക�ൊണ്ടുപ�ോകും.
സൂര്യ നൃത്തോത്സവ വേദിയിൽ 2013 ഒക്ടോബറിൽ അലർമേൽ വള്ളി
അവതരിപ്പിച്ച ഭരതനാട്യ കച്ചേരിയിൽ നിന്നും.
PHOTO: HAREE FOTOGRAFIE
09 INSPIRE 2020 JUL-AUG | VOL 02 | ISS 04
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വള്ളി - കാഴ്ചയിൽ
മൃദുലം; എന്നാൽ ഉറച്ച
തായ് വേരുകളിൽ
പടർന്നുകയറുന്ന
മായാജാലം!
കവിഭാവനയ്ക്കുമപ്പുറത്ത്
നർത്തകി തന്നെയ�ൊരു
അഭൗമകാവ്യമാകുന്ന
അനുഭവതലത്തിലേക്ക്
ഈ ചിത്രത്തിന്റെ
എഴുപത്തിയഞ്ച് മിനിറ്റുകൾ
നമ്മെ ക�ൊണ്ടുപ�ോകും.

ചലച്ചിത്രത്തിന്റെ ആദ്യ രംഗത്തിൽ

അലർമേൽ വള്ളി. സംവിധായകൻ
ജീവിതത്തിന്റെ ആനന്ദാനുഭൂതി
(ചുവടെ) സങ്കൽപ് മേഷ്റാം. എല്ലാ മനുഷ്യരിലും നൃത്തമുണ്ടെങ്കിലും തനിക്ക് പൂർണ്ണത നൽകുന്നത്
SCREEN CAPTURE / FB PROFILE നൃത്തമാണ് എന്ന് വള്ളി പറയുമ്പോൾ അത് പറഞ്ഞു കേട്ടു പഴകിയ
മട്ടിലാവുന്നില്ല. അവരുടെതന്നെ നൃത്തം ആനന്ദാനുഭൂതിയായി
അവരിലേക്ക് തിരികെ സഞ്ചരിക്കുന്നത് ആ വലിയ കണ്ണുകളിൽ
നിന്നും എളുപ്പത്തിൽ വായിച്ചെടുക്കാം. വലചിയിലൂടേയും ശങ്കരാഭരണ
വർണ്ണത്തിലൂടേയും ഈ ആനന്ദാനുഭൂതി അനുവാചകരിലേക്കും
അവർ അതിവിദഗ്ദമായി സന്നിവേശിപ്പിക്കുന്നു. ഈ ‘വള്ളി മാജിക് ’
ക്യാമറക്കണ്ണുകളിലൂടെ പകർത്തുകയെന്നത് പ്രയാസമാണ്.
എന്നാലിവിടെയത് അതിമന�ോഹരമായിത്തന്നെ ചിത്രീകരിച്ചിട്ടുണ്ട്.
കേവലമായ ഭക്തിപ്രകടനങ്ങളല്ല മറിച്ച് ആധിഭൗതികമായ
ആത്മീയതയാണ് വള്ളിയുടെ ഭരതനാട്യത്തിൽ നമുക്ക്
കാണാനാവുന്നത്. പാരമ്പര്യം എന്നത് വള്ളിയിൽ ഉറവിടമെന്ന
നിലയിൽ ശക്തിപ്പെടുന്നത് കാണാം. പന്തനല്ലൂർ ച�ൊക്കലിംഗ
പിള്ളയിൽ നിന്നും, പിന്നീട് അദ്ദേഹത്തിന്റെ മകൻ സുബ്ബരായ
പിള്ളയിൽ നിന്നും അഭ്യസിച്ച വ്യവസ്ഥാപിത ശൈലീഘടനയിൽ
നിന്നുക�ൊണ്ട് പുതിയ ദൃശ്യമാനങ്ങൾ സൃഷ്ടിക്കുന്നവയാണ്
അലർമേൽ വള്ളിയുടെ ഓര�ോ അരങ്ങും. അറിയപ്പെടുന്ന
ജനിതകശാസ്ത്ര ഗവേഷകനായ എം.എസ്. സ്വാമിനാഥൻ നിരന്തര
ഗവേഷണത്തിൽ മുഴുകുന്ന ശാസ്ത്രജ്ഞയായും, കലാചരിത്രകാരനായ
ആർ. നാഗസ്വാമി ഭാരതീയമായ നൃത്തകലയുടെ മ�ൊത്തം
THE AALAAP അംബാസിഡറായും വള്ളിയെ കണ്ടത് ഇതുക�ൊണ്ടാവാം. ‘ശ�ോഭാം
youtube.com/theaalaap
പ്രജനയേദിതി നൃത്തം പ്രവർത്തിതം’ എന്ന നാട്യശാസ്ത്ര നിർവചനം
ഈ ചലച്ചിത്രാനുഭവത്തിലെ ഓര�ോ അവതരണത്തിലും കാണാം.

ഉടലിന്റെ സംഗീതം
ഗീതം സംഗീതമായി രൂപാന്തരപ്പെടുന്നത് നൃത്തത്തിന്റെ
DIVYA NEDUNGADI is an A-graded Mohini-
yattam artist of DD and an empanelled ചലനാത്മകതയിലാണ്. പ്രണയാർദ്രമായ കാംബ�ോജിയിൽ
artist of ICCR. A recipient of many acco-
lades, Divya after completing her PhD
“അദിയ�ൊക്ക യുഗമ�ോ...” എന്ന ക്ഷേത്രയ്യപദം വള്ളി
in dance, is working as a faculty in the
Dept. of Mohiniyattam, Sree Sankara-
ആവിഷ്കരിക്കുമ്പോൾ ശരീരത്തിന്റെ ഓര�ോ അണുവിലും
charya University of Sanskrit, Kerala. ദൃശ്യവത്കരിക്കപ്പെടുന്ന ആ സംഗീതം തിരിച്ചറിയാനാവും. വൃന്ദ -
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2020 JUL-AUG | VOL 02 | ISS 04 10
മുക്ത സഹ�ോദരിമാരിൽ നിന്നും പകർന്നുകിട്ടിയ സംഗീതവഴികളെ
അവർ തന്റെ നൃത്തത്തിലേക്ക് രൂപാന്തരപ്പെടുത്തുന്ന കാഴ്ച
വിസ്മയകരമാണ്. ഭ�ോജന്റെ ശ്യംഗാരപ്രകാശത്തിലെ “സലീലം
സ പത്മം...” എന്ന വരിയുടെ ആവിഷ്ക്കാര പ്രക്രിയ ആ
അനുഭവത്തെ നമ്മളിലേക്ക് എത്തിക്കുന്നു. സംഗീതം അതിന്റെ
പൂർണ്ണമായ അർത്ഥത്തിൽ തന്നിലേക്ക് സന്നിവേശിപ്പിച്ച
നർത്തകിയാണ് അലർമേൽ വള്ളി. ഒരുവേള അറുതിക്ക് വാദ്യം
ക�ൊടുക്കുന്ന ലയത്വം എത്ര മന�ോഹരമായാണ് വള്ളി തന്റെ
നൃത്തത്തിന്റെ ഭാഗമാക്കുന്നതെന്ന് ന�ോക്കൂ. വള്ളിയ�ോട�ൊപ്പം
തങ്ങളും നൃത്തത്തെ അനുഭവിക്കുന്നുണ്ടെന്ന് ഗായിക
ബ�ോംബെ ജയശ്രീ വളരെ ഹൃദ്യമായി പറഞ്ഞുവെക്കുന്നു.

വള്ളിയിലെ കവിത്വം
വള്ളിയിലെ കവയിത്രിയെയും പറയാതെ പറഞ്ഞുവെയ്ക്കുന്നുണ്ട്
ഇതിന്റെ പിന്നണിപ്രവർത്തകർ. വള്ളിയിലെ കവിത്വം ഒട്ടും
ആകസ്മികമല്ല. കുട്ടിക്കാലത്തെ വീടും, പ്രകൃതിയും, ബന്ധുജനങ്ങളും
വള്ളിയിൽ ഉണ്ടാക്കിയ സ്വാധീനം വളരെ ഹൃദയസ്പർശിയായി
വിവരിക്കുന്നു. വ്യംഗ്യാർത്ഥങ്ങളിലേക്കും ധ്വനികളിലേക്കും
ഇറങ്ങിച്ചെന്ന് കാവ്യങ്ങൾക്ക് ദൃശ്യമാനം ചമയ്ക്കുകയെന്നത്
വളരെ ശ്രമകരമായ കാര്യമാണ്. സാഹിത്യത്തെ ത�ൊട്ടറിഞ്ഞ്
സ്വാംശീകരിച്ച ഒരാൾക്കേ ഇത് സാധ്യമാവൂ. പുരാതനമായ
സംഘസാഹിത്യവും യുവകവയിത്രി അരുന്ധതി സുബ്രഹ്മണ്യന്റെ
ഇംഗ്ലീഷ് കവിതയും ഒരുപ�ോലെ ഭരതനാട്യത്തിന്റെ
നൃത്തഭാഷയിലേക്ക് അനായാസമായി മ�ൊഴിമാറ്റുമ്പോൾ
അലർമേൽ വള്ളിയിലെ കവിത്വമാണ് മാറ്റുരയ്ക്കപ്പെടുന്നത്.
കാവ്യാംശത്തെ പ�ൊലിപ്പിക്കുമാറ് ചലനങ്ങൾ ചേർക്കുന്നതിലെ
പ്രതിഭ അവരുടെ നൃത്തകാവ്യങ്ങളെ കൂടുതൽ മന�ോഹരമാക്കുന്നു.
ചലച്ചിത്ര സംവിധായകൻ അരുൺ ഖ�ോപ്‌കർ പറയുന്നതുപ�ോലെ
ഭാരതീയ നൃത്തകലാസാഹിത്യത്തിൽ ഇഴയടുപ്പത്തോടെ
സചേതനമായി നിൽക്കുന്ന ഭക്തിയും കാമവികാരങ്ങളും
ആവിഷ്കാരത്തിൽ അതീവശ്രദ്ധയ�ോടെ കൈകാര്യം
ചെയ്യേണ്ട ഒന്നാണ്. കൈയ്യടക്കവും മെയ്യൊതുക്കവുമില്ലാതെ
‘ഇറ�ോസി’നെത്തൊട്ട് (eros) അശ്‌ളീലമാക്കിയവർ നൃത്തരംഗത്ത്

'ലാസ്യ കാവ്യ'യിൽ വള്ളിയെക്കുറിച്ചുള്ള

അഭിപ്രായങ്ങൾ പങ്കുവെച്ച പ്രമുഖർ;
ചരിത്രകാരൻ ആർ. നാഗസ്വാമി (മുകളിൽ
നിന്നും), ശാസ്ത്രജ്ഞൻ എം.എസ്.
സ്വാമിനാഥൻ, ചലച്ചിത്രകാരൻ അരുൺ
ഖ�ോപ്കർ, സംഗീതജ്ഞ ബ�ോംബെ
ജയശ്രീ. അമ്മ ഉമ മുത്തുകുമാരസ്വാമിയുമായി
(വലത് ) സംഭാഷണത്തിൽ.
SCREEN CAPTURES
11 INSPIRE
2020 JUL-AUG | VOL 02 | ISS 04
അനവധിയാണ്. എന്നാൽ വള്ളിയുടെ കയ്യിലും
മെയ്യിലും എല്ലാം സുഭദ്രമാണ്. സാഹിത്യത്തെ
ത�ൊട്ടറിഞ്ഞ് അരങ്ങിലെത്തിക്കുമ്പോൾ
വള്ളിയിലെ കവിത്വം അതീവശ്രദ്ധാലുവാണ്.
ബാണിയുടെ ശക്തിയും സൗന്ദര്യവും
നേർരേഖകളാലും ജ്യാമിതീയ
നൃത്തനിർമ്മിതികളാലും സവിശേഷമായ
പന്തനല്ലൂർ ബാണിയുടെ ഘടനാപരമായ
അസ്തിത്വം വള്ളിയിലൂടെ കൂടുതൽ വെളിപ്പെടുന്നു.
ഗുരുപരമ്പരകളുടെ അശ്രാന്തപരിശ്രമത്താൽ
സൂക്ഷ്മവും സമഗ്രവുമായി രൂപംക�ൊണ്ട
പന്തനല്ലൂർ ബാണിയുടെ സാധ്യതകൾ
ഓര�ോന്നായി ഗുരുക്കന്മാർ
പറഞ്ഞുതരികയായിരുന്നില്ല, തന്നിലേക്കവ
അപ്പാടെ പടർന്നുകയറുകയായിരുന്നു
എന്ന് വള്ളി പറയുന്നുണ്ട്. നേർരേഖകൾക്ക്
പ്രാധാന്യം കല്പിക്കുമ്പോഴും ലാളിത്യവും ഒഴുക്കും
പന്തനല്ലൂർ ബാണി നിഷ്കർഷിക്കുന്നു.
അതിസങ്കീർണതകളല്ല പന്തനല്ലൂർ ബാണിയുടെ
ശക്തി എന്നത് ‘ലാസ്യ കാവ്യ’ത്തിലെ ജതികളുടെ
കൃത്യമായ ചിത്രീകരണം വ്യക്തമാക്കിത്തരുന്നു.
ഇപ്രകാരം താൻ പഠിച്ചവഴികളിലെ കൃത്യത
തന്റെ ശിഷ്യരിലേക്ക് പകർന്നുനൽകുന്ന
രംഗങ്ങളും ഏറെ ഹൃദ്യമാണ്. വള്ളി എന്ന
ഗുരുവിനെക്കുറിച്ച് അവരുടെ പ്രമുഖശിഷ്യർക്ക്
പറയാനുള്ളതും കൂടി ചേർക്കാമായിരുന്നു
എന്നു മാത്രം കൂടുതലായി ആഗ്രഹിച്ചു.
മുൻകാല എഴുത്തുകളിലും, അഭിമുഖങ്ങളിലും,
സംവാദങ്ങളിലും ശക്തിയായും ഊർജമായും
വള്ളിയുടെ വാക്കുകളിൽ നിറയുന്ന അമ്മ
ഉമ്മ മുത്തുകുമാരസ്വാമി, ‘ലാസ്യ കാവ്യ’ത്തിൽ
ഒരു കഥാപാത്രമായി എത്തുന്നു എന്നത്
artograph
ഈ ചലച്ചിത്രത്തിന്റെ മറ്റൊരു സവിശേഷത.
അമ്മ പ്രത്യക്ഷപ്പെടുന്ന രംഗങ്ങളാവട്ടെ
വളരെ ബുദ്ധിപൂർവ്വം ഇഴ ചേർത്തിരിക്കുന്നതും
കാണാനാവും. നൃത്തകളരിയിലെ അമ്മയുടെ
സാന്നിദ്ധ്യം വള്ളി എന്ന നർത്തകിയെ
രൂപപ്പെടുത്തിയ ക്രാന്തദർശിയുടെ
ശക്തി നമുക്ക് കാട്ടിത്തരുന്നു.
വള്ളി നൃത്തത്തിലെ സത്യവും വഴിയും
വെളിച്ചവുമാണ്. വിഖ്യാത ഫ്രഞ്ച്
ചിത്രകാരനായ പ�ോൾ ഗ�ോഗ് പറയുന്നു
വ്യതിരിക്തമായ ഒന്നിനായുള്ള ഭ്രാന്തമായ
അലച്ചിലാണ് കല (art = a mad search
for individualism). ദിവസവും മണിക്കൂറുകൾ
നീളുന്ന സാധനയിലൂടെ അലർമേൽ വള്ളി
തിരയുന്നതും തന്റേതാക്കുന്നതും നൃത്തത്തിലെ
അവരുടെതന്നെ അസ്തിത്വത്തെയാണ്,
ഒരുവേള കൂടുതൽ മികച്ച വള്ളിയെത്തന്നെ.
അസ്ഥി ത�ൊടുന്ന അനുഭവത്തെ
വാക്കുകളിലേക്കൊതുക്കുകയെന്നത് ഏറെ
പ്രയാസകരമാണ്. ഒരുപാട് ആരാധിക്കുകയും
ഇഷ്ടപ്പെടുകയും ചെയ്യുന്ന ആളിലൂടെ
അനുഭവിച്ച രസനയെ രേഖപ്പെടുത്തേണ്ടി
വരുമ്പോൾ പ്രത്യേകിച്ചും. വാക്കുകൾ ക�ൊണ്ട്
അളന്നെടുക്കാനാവാത്ത നൃത്തഗ�ോപുരമാണ്
അലർമേൽ വള്ളി. കാലമേറെക്കഴിഞ്ഞാലും
അത് പ്രൗഢിയ�ോടെ തന്നെ നിലനിൽക്കും.
സുദൃഢമായ തായ് വേരുകളിൽ വള്ളിയിനിയും
പടർന്നുകയറും. അങ്ങനെ വള്ളിയാടുമ്പോൾ
ആ ഹൃദയത്തിൽ ഹൃദയം ചേർത്തുവെച്ച്
നമ്മളും കൂടെയാടുന്നുണ്ടോ? ●
2018-ലെ നിശാഗന്ധി നൃത്തോത്സവ വേദിയിൽ അലർമേൽ വള്ളി
അവതരിപ്പിച്ച ഭരതനാട്യ കച്ചേരിയിൽ നിന്നും.
PHOTO: HAREE FOTOGRAFIE

വള്ളി നൃത്തത്തിലെ
സത്യവും വഴിയും
വെളിച്ചവുമാണ്.
ദിവസവും മണിക്കൂറുകൾ
നീളുന്ന സാധനയിലൂടെ
അലർമേൽ വള്ളി
തിരയുന്നതും
തന്റേതാക്കുന്നതും
നൃത്തത്തിലെ
അവരുടെതന്നെ
അസ്തിത്വത്തെയാണ്.
artograph ART COLLOQUY
2020 JUL-AUG | VOL 02 | ISS 04 12

diva
the classical

SNEHA SASIKUMAR

B
hagyalakshmi Guruvayur is a young Car-
natic musician who turned her musical
career into that of a dance vocalist and
thus helped illuminate a distinct career path to
many aspiring vocalists in the country. Steered
into learning music at the age of three under
her father Guruvayur Ramanathan, her initial
training was under Lekha Krishnakumar.
Later, guru Guruvayur R. Venketeswaran helped
her explore the nuances of Carnatic music. As is
usual in Kerala, she got familiar with different
dance forms and music during childhood and also
received formal training in dance.
Bhagyalakshmi is presently under the tutelage
■ NITHIN NARAYANAN PHOTOGRAPHY

of V.R. Dileepkumar in music and Kalaman-

dalam Aswathy in dance. Her insights into
how inalienable dance and music are, help us
make out the potentially talented artist in her.
A must-have dance musician for many artists
including celebrity dancers like Manju Warrier
and Divyaa Unni, Bhagyalakshmi shares her musical
odyssey here.
13 ART COLLOQUY
2020 JUL-AUG | VOL 02 | ISS 04
artograph
Q: How did you begin a career in dance music?
When I started, I did not have the intention to be a dance musician.
It was purely coincidental that I immersed myself into it. While in
college, once I casually did the vocals for a Thiruvathira performance.
That was my beginning at the age of 18, full of confidence, and driven
by the over-enthusiasm of any teenager. Soon after, I sang for a dance
program at the temple festival of Koodalmanikyam, a big draw of
brilliant dancers and musicians across the state. Perhaps it was after
a recording that I very informally did for a disciple of Geetha Padma-
kumar - “Govardhana giri dhari...”, which received the first position
at the Kerala State School Youth Festival - that people started recog-
nising my voice. Ever since my journey is as a dance musician, and I
am still working on mastering it.
Bhagyalakshmi
Guruvayur is a young Q: What has been the inspiration to follow the
path untrodden by Carnatic Musicians?
musician who turned
Right from the beginning, I had the blessed opportunities to work
her musical career into with many professional soloists in the field of dance. Such collabo-
that of a dance vocalist, rations helped me reconstruct my thoughts on music and became
establishing herself as an inspiration to follow a musical career in dance. All such amazing
artists helped me embody art as lived experience and explore the
a must-have dance nuances of different compositions. It was also required to dwell more
musician for many into the emotional aspects. I always feel complete when I sing for
noted artists. dance. These associations with seasoned artists itself turned out to be
an incredible learning experience for me.
Q: We have a lot of Carnatic vocalists, but only a very
few are into dance music. What could be the reason?
I feel it is because of the orthodox mentality nurtured through gen-
erations that dance music is restrictive, and it can affect a musician’s
career. There is a general belief that dance musicians have a dim-
inution in their value. If you get the knack, this is an exciting and
challenging aspect in the array of music.
Q: Can all Carnatic vocalists succeed in dance music? What
adjustments do they have to make in their singing?
In my way of reciting, I cannot just imitate the Sangatis or repetitions
set by the composer. I prefer evoking the underlying emotions and

Bhagyalakshmi, during the concert she had as an

offering to the deity at Guruvayur Sree Krishna
Temple in 2018.
PHOTO: NITHIN NARAYANAN PHOTOGRAPHY

SNEHA SASIKUMAR, an accomplished

Kuchipudi artist, presently researching
at the University of Hyderabad, is a
post-graduate in Performing Arts and
has completed her studies on ‘Healing
with the Arts’ at the University of Florida.
artograph
the abstract nature of composi-
tions. In my opinion, the dancers
should be allowed to make inter-
pretations on their own. As they
communicate the emotional
postulations underlying in the
choreography during rehears-
als, I voice them accordingly. For
some moves, the musical empha-
sis should be on choreography.
In all other cases, it will be the
emotional aspect that requires
suggestive portrayal.
Usually, most dancers give me
absolute freedom to improvise
on the above factors. While this
can be an advantage for dance
musicians, it may not be so for
classical vocalists. Of course, I
try my best to wander around
with different connotations pro-
gressively, but sometimes it is
not a much-accepted quality for
Carnatic musicians. It helped me
sustain in the industry, which
in no way is a compromise, but
absolute freedom, and I have
never felt dance music to be
restrictive.
Q: While performing a
composition, do you take
the musician’s side or
go with the content?
I go with the performer. I
have come across two types of
dancers. Some go with the tradi-
tional kinesthetics, send me the
music beforehand, and all I have
to do is to render them. The other
category performs ad-lib, makes
the work more challenging and
arouses interest in me. Being a
dancer, I note the last movement
cue in such cases and proceed
with the emotional flow.
In cases where I have a personal
relation, like the one I cherish
with Geetha Padmakumar, I
glimpse, contemplate, and learn
the items during the choreogra-
phy sessions. In that way, I too
become a part of the process. In
all other instances, I go with the
interpretation of the performer
and be a supportive factor in
their articulation.
Q: How does it feel to be
a dancer and a dance
musician at the same time?
I had learnt dance from a very
young age under guru Kalaman-
dalam Rema. While in school,
I regularly appeared in group
performances. As I entered teens,
I became an ardent fan of many
performers of that time. All these
ART COLLOQUY
2020 JUL-AUG | VOL 02 | ISS 04 14
helped to realise that dance is also
my forte. I advanced my learn-
ing in Kuchipudi under Geetha
Padmakumar and Mohiniyattam
under Kalamandalam Aswathy
Sankar Lal. They persuaded me
to explore my love for dance.
Being a dancer has helped a lot
in shaping my career as a dance
musician. As a vocalist, I will be
seated at the side of a stage, in
a much-relaxed zone. Being a
performer myself, I know stress,
anxieties and creative highs asso-
ciated with a dancer. This under-
standing makes me more consid-
erate to my collaborators.
Q: Is there any general
prerequisite for a music
piece to be good for
dance? And about your
own musical works?
Any music piece can be adapted
to become a dance composition.
It all depends on how the dancer
explores the music. I have sung
many rare compositions, for
example with Western notes
in classical Swaras. I prefer the
Bhagyalakshmi Guruvayur as the vocalist for the
Bharatanatyam recital by Devika Sajeevan at the
2020 edition of 'Nishagandhi Dance Festival'.
PHOTO: HAREE FOTOGRAFIE
15 ART COLLOQUY
2020 JUL-AUG | VOL 02 | ISS 04
artograph
emotion-based dynamics in dance music than the Carnatic flavour.
My recent production was an endearing item based on goddess Kali
for actor-dancer Divyaa Unni. Few others include ‘Panchasudhi’ for
Kalamandalam Dhanusha Sanyal, ‘Harinamakeertanam’ for C. Venu- “The dancers shall have
gopalan Nair, ‘Brahma Kouthuvam’ and ‘Sri Vishnumaya Charitham’
for Rachana Narayanankutty, and ‘Kalavathy’ for Kalamandalam
a thorough knowledge
Sheena. While setting music for some spiritual productions, I have of the music involved.
experienced divine forces working from behind, making me wonder It is not just learning a
at the outcome. I embrace and cherish all such moments with devo- composition in proper
tion and gratitude.
connotation, but the
Q: A few words on music classes happening online. exploration of it.”
I offer music classes to children and professional dancers. I believe
that the dancers shall have a thorough knowledge of the music
involved. The strategy I adopt in my sessions for them is not just
teaching of a Krithi in proper connotation, but the exploration of it.
By not just sticking on the Padartha, diving deep into Krithis
helps one have a different perspective on the composi-
tion altogether.
During this stressful time of the pandemic, it has
helped a lot in surviving emotionally as I always
got busy with a bunch of professionals. In that
way, COVID is a boon because I received enough
time to spend on classes.
Q: How do you think the pandemic
situation has affected the art world?
It has affected us very badly. Many people live with
and live for the arts. Many a time we do not mind per-
sonal problems while involved with arts. For instance, we
may not be concerned about our expenses as there is always an
income coming into the loop. But the current situation is creating a
psychological impact as well. I keep myself busy with online classes,
but I know many others who are completely down and done.
Online events require different treatment and are unlike regular
live shows. But these are the only ways to survive at present, and I
perceive them with positivity.
Q: About your upcoming initiatives
I am keen on making some video productions, touching upon the soul
of some compositions, and publishing them through my YouTube
channel. Presently I research that. My sole intention is to explore
some more spectrum of the musical world.
With much positivity, gratitude, and an incredible smile, she
expressed her happiness over creating the background score for the
film ‘Nithya Sumangali’ which for her was nothing short of a heav-
enly experience. Concluding the chat, she asserted that no woman
should abandon her dreams listening to the negations of society.
Travelling late nights or collaborating with unknown artists should
not come in the way, as music is much beyond all such inhibitions. ●

Bhagyalekshmi Guruvayur during her Mohiniyattam recital under the aegis of Edapally Nrutha Aswadaka
Sadas in April 2019.
PHOTO: SREERAJ T.
 artograph OPINION
2020 JUL-AUG | VOL 02 | ISS 04 16
COVER STORY

Kathakali
when streamed live
HAREESH N. NAMPOOTHIRI

K
A lot of online dance athakali is best to watch from the front, the ardent lovers of the
and music events are art form will say. However, as the pandemic put a halt to all
stage shows, the only possibility remained was to watch it over
happening lately, and the Internet. Though not the same as watching from a live venue,
Kathakali is not left viewing it online, has its perks. Not only that it will provide the con-
behind. Among many venience of home, but will also add the possibility to view it later, or
to take breaks in between.
ventures, a handful of
There were a handful of such shows in the last two months, and a
them excelled in the
few of them excelled in the technical front as well, providing the best
technical front as well. audio-visual experience to the viewers given the circumstances. The
first of the kind was the Karna and Kunti scene from Mali Madhavan
Nair’s ‘Karnasapatham’, organized by Kunnamkulam NRI Forum, as
part of their annual art fest. They organized it in association with
Kunnamkulam Kathakali Club
and streamed live through the
former’s Facebook page on the
7th of August.
Story of a reunion
Skipping initial portions the
staging started directly with
“Enthiha manmanase...” the
thoughtful padam of Karna. Start-
ing there makes it difficult for the
actor to establish the character.
The preceding monologue recol-
lecting his past, also makes the
padam more relevant. Within this
limitation, Peesappilly Rajeevan
tried to make it up. However,

KARNASAPATHAM
tinyurl.com/ag-ksapatham

Kalamandalam Sivadas as Kunti and Peesappilly

Rajeevan as Karna in 'Karnasapatham' Kathakali
organized by Kunnamkulam NRI Forum in
association with Kunnamkulam Kathakali Club.
SCREEN CAPTURE
17 OPINION
2020 JUL-AUG | VOL 02 | ISS 04
from the point where Kunti
joined, he made it all impressive.
His approach left out unneces-
sary exaggerations, especially in
instances like Karna saying, it’s
her womanhood that saves Kunti
from imminent death, while she
asks him to leave Duryodhana.
Kalamandalam Sivadas por-
trayed Kunti, and his approach
appeared to be a little different
from what generally seen. His
Kunti was not yet ready to fully
express her motherly sentiments
to Karna, and even when sharing
the story of his birth, she hardly
showed any remorse. Perhaps,
showing some more compas-
sion to the eldest of her sons
works better for the character in
this play. It indeed helped Raje-
evan’s Karna to deny her request
without any considerable hesita-
tion.
The vocalists Kottakkal Madhu
and Sadanam Jyothish Babu
have sung beautifully. Many a
time, especially in Kunti’s por-
tions, it was more absorbing to
NARAKASURAVADHAM
tinyurl.com/ag-nvadham
Kalamandalam Soman as Naraka (clockwise
from top), Kalamandalam Praveen as his wife,
Kalamandalam Sajan as Lalitha, Kalamandalam
Vipin as Jayanta, and Sadanam Bhasi as
Nakrathundi in 'Narakasuravadham' Kathakali
presented by Kunnamkulam Kathakali Club.
SCREEN CAPTURES
artograph
listen to them with eyes closed. how Nakrathundi, a demoness,
Ramakrishnan and Jayaraj from enters heaven and tries to abduct
Sadanam came good in the per- the heavenly women.
cussions. Sadanam Bhasi, known for his
ability to make his roles stand
Distracted by desire
apart, made the introductory
Later on 21st of Aug, Kunnamku-
‘Karivattom’ itself delightful. In
lam Kathakali Club joined hands
heaven, she comes across Jayanta
with a few Kathakali enthusiasts
and falling for her sexual desire
and presented ‘Narakasuravad-
decides to approach him in the
ham’ one of the plays by Karthika
disguise of a damsel.
Thirunal Rama Varma. Streamed
Kalamandalam Sajan as Lalitha
live through Kathakali group on
made a worthy start with the
Facebook, the main highlight was
saari and then the slow-tempo
Naraka presented by Kalaman-
padam. He continued to excel as
dalam Soman, Nakrathundi by
he portrayed the character gradu-
Sadanam Bhasi, and Lalitha by
ally losing the patience to a stage
Kalamandalam Sajan.
where the true self comes out.
The former part of the story is
Kalamandalam Vipin as Jayanta
more like a sub-thread. It details
artograph
also played his part to perfec-
tion, and together they made
the scene a compelling watch.
Kottakkal Vengeri Narayanan in
the company of Jyothish Babu
excelled in the vocal section in
these portions.
Naraka winning heaven
By the time Nakrathundi, disfig-
ured by Jayanta flees the scene,
it touched almost three hours.
Unlike watching in a real stage,
viewing it on screen for long
hours is strainful. Presenting
short plays or portions of stories
works best for the online format.
However, the program here
continued to the latter segment,
where the title character of
Naraka appears.
As the scene opens, the demon
Naraka is having a good time
KIRMEERAVADHAM
tinyurl.com/ag-kvadham
Kalamandalam Shanmukhadas as Lalitha
and Kalamandalam Vipin as Panchali in
'Kirmeeravadham' Kathakali presented by
Thrissur Kathakali Club.
SCREEN CAPTURE
with his wife. Kalamandalam
Soman and Kalamandalam
Praveen roleplayed the charac-
ters. Soman well presented the
slow-tempo padam “Balikamar
mauli...” particularly making the
male peafowl dance in the chara-
nam noteworthy.
The actor has shown his true
colours once the mood shifted
upon hearing a noise afar. The
prescribed sequence of narra-
tions of trying to make sense of
the noise, attending to the muti-
lated Nakrathundi, setting out
to fight Indra - Soman acted all
these with the necessary vigour.
However, it would’ve been best
to end with that as the actor
looked exhausted afterwards. His
Naraka certainly won heaven in
his fight with Indra, but it wasn’t
that of a convincing win for the
spectators.
Sadanam Sivadasan took the
lead in vocal for these portions
along with Vengeri Narayanan.
The percussion team - Sadanam
OPINION
2020 JUL-AUG | VOL 02 | ISS 04 18
Ramakrishnan and Sreehari
Panavoor on the chenda with
Sadanam Bharatharajan and
Biju Attupuram on the madda-
lam well supported the actors
all along. Also, the characters
looked exquisite in the costumes
provided by Rangabhoosha, and
chutty being taken care of by
Kalamandalam Sudheesh.
Taken by deception
Kalamandalam Shanmukhadas
and Vipin were visually stunning
in their minukku attire when
viewed in the 1080p FullHD res-
olution. A few cuts and mixing
suggested that the video was
pre-recorded and streamed live
in the scheduled time.
The stage was the monthly
program of Thrissur Kathakali
Club, streamed on the 29th of
Aug. The chosen scene was the
one between Lalitha and Panch-
ali from Kottayam Thampuran’s
‘Kirmeeravadham’ play. Picking a
portion which will fit a 90-minute
session is also appreciable.
19 OPINION
2020 JUL-AUG | VOL 02 | ISS 04
artograph
Simhika in the disguise of a celestial beauty named Ganika enters
from the right, tells Panchali about the Durga temple, and after
winning her confidence takes her into the thicket. Soon Panchali rea-
lises she’s in trouble and Simhika reveals her true self.
Though the storyline is only this much, the two padams - one in slow Unlike many other
and the other in medium pace - tests the calibre of the actor who classical dance shows,
appears in the role of Ganika. Shanmukhadas certainly lived up to most of the Kathakali
his reputation, strictly following the chitta aspects. Flashing of the
vengeful face, in between all the sweet talks is something very much
events retain their video
anticipated in the roleplay. Though he was ungenerous in this at the feeds allowing the
start, made up for it as the play progressed. Just like he impressed the rasikas to watch later.
other day as Jayanta, Vipin came good as Panchali here.
The audio quality matched the excellent rendering of “Nallarkulam...”
and “Kandalathimodam...” by Nedumbally Ram Mohan and Abhijith
Varma. Kalamandalam Hariharan’s maddalam and Kalamandalam NALACHARITHAM
tinyurl.com/ag-ncharitham
Nithin Krishna’s idakka and chenda also supported the actors well,
while their microphone levels could’ve been a bit higher.
Falling short technically
Thodayam Kathakali Yogam chose to present Unnayi Warrier’s
‘Nalacharitham Randam Divasam’ for their live Kathakali event on
22nd Aug. Krishnakumar, Anilkumar, Hari R. Nair, Ravikumar, sea-
soned actors from Kalamandalam along with the youngsters Arun
Raju, Praveen, and Vipin from the same institute formed the
lineup, all resourceful to make it a significant show.
The accompanying artists were also aptly chosen to make
it count. But the video streaming wasn’t up to the mark.
Though the resolution was 720p HD, it was still pix-
elated and not smooth. The complete session was a
little over seven hours, making it impossible to watch
it at one stretch. Recorded premiere over multiple
days would’ve delivered a better experience. If the
organizers have a quality video record, they may con-
sider having a retelecast again. Taking into account
the artist line-up, it deserves good quality streaming.
When we compare with the other classical events,
Kathakali live performances tend to serve better in a
few fronts. Most of these Kathakali events retain their
video feed allowing the rasikas to watch it again later.
Besides, if streamed on Facebook at a lower resolu-
tion, most organizers are keen to upload the
high-resolution version to YouTube later.
Viewers count for Kathakali shows, live as
well as in a whole, also generally on the
higher side. Seasoned artists, along
with youngsters, get stages and
are given remuneration, is also a
point worth mentioning here. ●

Kalamandalam Krishnakumar portraying the role

of Nala in a staging of 'Nalacharitham' organized
by Drisyavedi, T'puram in 2008.
PHOTO: HAREE FOTOGRAFIE [ARCHIVES]
artograph STUDIO
2020 JUL-AUG | VOL 02 | ISS 04 20
21 STUDIO
2020 JUL-AUG | VOL 02 | ISS 04
artograph

EXPOSURE: 1/250 | F4.0 | ISO 100

SONY ILCE-7M3 / SONY FE 70-200MM F4 G OSS

FEATURED

PARVATHY P arvathy Chandran is a passionate Bharatanatyam dancer and the found-

ing director of Laasya Dance Classes For Women and Children’. She
began her dance lessons under the tutelage of guru Girija Chandran at a

CH AN DRA N tender age of five. A doctoral degree holder in Hindi from the University of
Kerala, Parvathy Chandran has a diploma in Bharatanatyam from Kalaika-
viri College of Fine Arts and currently pursues MA in the same repertoire.
PHOTOGRAPHY Other than dance, she’s also trained in Veena. Presently, she works as a high
HAREESH N. NAMPOOTHIRI school teacher at Govt. KVHS Ayira under General Education Department.
LIGHT ASSIST
JITHU PRABHAKAR Apart from learning the nuances of the dance form, she is also keen to share
MAKE-UP her knowledge with aspiring dancers. Laasya Academy of Bharatanatyam,
JAYAN KARUNAGAPPALLI an institution that she founded in 2016, was a bold step in this direc-
COSTUMES tion. Her decade long teaching experience also helped her in making
SARWESWARAN KALASAGAR
the institution a reality. Through Laasya, she strives to pass on the dance
SUPPORT
DHANYA SUBRAMANYAN, SOUMYA R. adhering to the traditional style to wannabe dancers for over a decade.
STUDIO Parvathy owes her artistic life to her gurus and her parents, who have initially
HAREE FOTOGRAFIE found and nurtured the talent in her at a very young age. ●
SHOOTING DATE
2019 OCT 27 Facebook page: fb.me/laasya.parvathy

EXPOSURE: 1/250 | F4.0 | ISO 100

SONY ILCE-7M3 / SONY FE 70-200MM F4 G OSS

THIS SEGMENT FEATURES TALENTS, BOTH YOUNG AND ESTAB-

LISHED, ALONG WITH THEIR PROFESSIONALLY SHOT STUDIO
PHOTOGRAPHS.
artograph GENERAL
2020 JUL-AUG | VOL 02 | ISS 04 22

Cultural
rendezvous
PRIYANKA B.

T
he past two months had witnessed some of the
biggest festivals of the year. Despite the lack of usual
celebrations, the art fraternity seemed undeterred in
bringing cheer by making the best use of online platforms.
The rasikas, offered with numerous programs to choose
from had a tough time watching all, thanks to those
organisers who made them available even after they
got premiered.
Visual extravaganza
Celebrating Onam, at the peak of the pandemic
situation, came with its own set of chal-
lenges for Keralites. The Dept. of Culture,
Govt. of Kerala in association with Bharat
Bhavan and South Zone Cultural Centre
organised a ten-day-long digital festival
titled ‘Maveli Malayalam 2020’ starting
on the 22nd of Aug. It followed a format of
the Onam shows conducted by the state government every
year. The ~90 minutes programs were live-streamed over
the Facebook page of Bharat Bhavan. Named after the ten
sacred flowers of Kerala, the streamed content was a mix
of live shows interspersed with pre-recorded videos.
Coming to the classical dance part, Mohiniyattam stood
out, and the performances by seasoned artists made
it a captivating watch. Choreographed by their guru
Neena Prasad, the Mohiniyattam group performance
by Vidya Pradeep, Reshmi M. Nair, and Nandhini
Narayanakumar began with a cholkettu. The dance
adaptation of Changampuzha Krishana Pillai’s
famous poem ‘Kavyanarthaki’ served as an
ensemble of poetry, music, and dance.

Neena Prasad, during her recital at Kalakshetra in 2013, where she

presented the varnam "Natanalathika Madhavi..." as the crowning piece.
PHOTO: HAREE FOTOGRAFIE [ARCHIVES]
23 GENERAL 2020 JUL-AUG | VOL 02 | ISS 04
Drishya Gopinath and Margi Madhurima present Seethankan Thullal and
Nangiar Koothu respectively as part of 'Maveli Malayalam 2020' presented
by Bharat Bhavan - Kerala.
SCREEN CAPTURES
Neena Prasad’s performance on the festival finale
was elegance personified as she presented two items
distinctive to the repertoire. A self-choreographed
cholkettu was the opening piece, succeeded by the
varnam “Natanalathika Madhavi...” depicting the
courtesan, Madhavi of ‘Silappatikaram’ proudly
proclaiming her love for Kovalan.
‘Narasimhavatharam’ Nangiyarkoothu by Margi
Madhurima M. and Bharatanatyam recital by
Sukanya Jayaram were the other programs belong-
ing to the traditional repertoire.
Folk and more
The satirical Thullal hailed as the Kathakali of
common masses got a fair representation with
Drishya Gopinath presenting all the three variants
of it - Ottan, Parayan, and Sheethankan - touching
upon issues that are of social relevance. Several art
forms native to the Kerala culture like ‘Kakkarissi
Natakam’ (team led by Parappil Karumban), Kerala
Natanam (group performance choreographed
by Lekha Thankachi) etc., got staged in addition
to several group performances portraying the
harmony and vibrancy of the state.
The music sessions featured K.R. Syama, Sajna
Vinish, and Abhradita Banerjee and ‘Kavyonam’
was conceived as an interactive session among
poets. The Indian village festivals segment used as
fillers portrayed recorded videos of folk art forms
like Dollu Kunitha, Rauf, Purulia Chhau etc. native
to different parts of the country.
As a tribute to the recently departed Hindustani
music maestro Pandit Jasraj, his disciples co-or-
dinated by Ramesh Narayan hosted a near eight-
artograph
hour-long online musical concert titled ‘Naman’ on
the 28th of August.
The program got live-streamed over his Facebook
page and that of Bharat Bhavan. Among those
who joined from different parts of the globe and
paid their homage to include Ramesh Narayan
and his family, Rattan Mohan Sharma, Saptarshi
Chakraborthy, Gautam Kale etc.
A celebration of Mohiniyattam
It turned out to be a cheerful time for Mohiniyat-
tam as many dance schools eulogised traditions in
the art form through well-curated dance festivals.
Sreepadmam School of Dance, based in the USA,
hosted a five-day dance festival during the last two
weekends of August. Titled ‘Sampradaya’, the fes-
tival brought together a handful of accomplished
artists.
The inaugural day had Sandra Pisharody who
presented two items choreographed by her guru
Nirmala Paniker. A cholkettu in raga Sankarabha-
ranam preceded ‘Chandanam’, a revived desi item
in which the dancer describes the qualities of san-
dalwood paste and how it rescues Lord Shiva from
the ill effects of the Kalakuta poison. Sandra adept
in performing desi items enlivened the piece, once
dismissed as obscene.
The second day featured Malavika Menon who
began with a pure dance piece ‘Mukhajalam’, a
composition of Kavalam Narayana Panicker in
Ragamalika set to Panchari tala. The crux of her
recital was the padavarnam ‘Geetanjali’, a mas-
terpiece of her guru Vinitha Nedungadi based on
poet G. Sankara Kurup’s translation of the poem by
Rabindranath Tagore. Malavika did an impressive
portrayal of the heroine - the jivatma and her emo-
tional phases in the quest to unite with paramatma
- the ultimate consciousness.
artograph GENERAL
2020 JUL-AUG | VOL 02 | ISS 04 24

Dancers of 'Sampradaya' Mohiniyattam festival;

Sandra Pisharody (clockwise from top-right),
Malavika Menon, Vidya Pradeep, Prasheeja
Gopinadh, and Sumitha Nair N.
SCREEN CAPTURES

BHARAT BHAVAN - KERALA

fb.me/bharatbhavankeralaofficial

SREEPADMAM SCHOOL OF DANCE

fb.me/sreepadmamschool

Vidya Pradeep came next in the slot, and she commenced with a
Cholkettu in raga Kedaragaula followed by the Swathi Thirunal
varnam “Sa para vivasha...”, both choreographed by her guru Neena
Prasad. Here, Vidya did an excellent portrayal of the ingenious Sakhi
in conversation with Lord Padmanabha, reminding him of the
romantic life they enjoyed and persuading for their reunion without
any delay.
Kalamandalam Prasheeja Gopinadh was the dancer on the fourth
day, and she presented “Yahi Madhava, yahi Kesava...”, featuring
a distraught Radha in conversation with Krishna, interspersing it
with episodes such as Kaliyamardanam, Govardhanodharanam and
Poothanamoksham. She concluded with the Dhanashree thillana It turned out to be
composed by Swathi Thirunal. a cheerful time for
The final day of the festival had Sumitha Nair N. who presented Mohiniyattam as
‘Ananda Ganapathi’ invoking Lord Ganesha followed by ‘Saptan- many dance schools
ayika’ portraying all the seven nayikas except Proshitabhatruka,
drawing inspiration from ‘Gita Govinda’. Following dance segments eulogised traditions in
on each day were interactive sessions in which the participants the art form through
recounted their artistic journey with Bhairavi Nedungadi, the curator well-curated dance
of the festival.
festivals.
More in the line
Palakkad based Gowri Creations, hosted an array of programmes
over their Facebook page including a ten-day talk series (Aug 03-12)
and dance festival (Aug 14-23) dedicated to Mohiniyattam. Seasoned
artists like Kalamandalam Kshemavathy, Kalamandalam Sugandhi,
Nirmala Paniker, Sunanda Nair etc. participated in the talk shows.
Equally informative were the sessions led by Kottakkal Nandaku-
maran Nair, Cheppad A.E. Vamanan Namboothiri, and Vedantam
Venkata Chalapathy Rao on other art forms. Lecture on ‘An intro-
duction to Neuroaesthetics’ by C.P. Unnikrishnan, and the interactive
session involving V. Kaladharan and Rajashree Warrier on dance
25 GENERAL 2020 JUL-AUG | VOL 02 | ISS 04
artograph
music were also enlightening.
The dance segment had Smitha Rajan in the inau-
gural slot. When it comes to crammed time slots
like 30-40 minutes, it gets difficult for the dancers
to innovate and make an impression, many a time
causing shorter compositions getting repeated. The
presentations by Mini Pramod Menon and Kala-
mandalam Aswathy Sankarlal in the festival were
noted ones, also for taking care of the technical
aspects.
Mini started with ‘Ananda Ganapathi’ to be fol-
lowed by the Swathi Thirunal padam, “Shankara
srigiri...” on Lord Shiva, touching upon the legend
of Shiva opening his third eye when distracted by
the Kamadeva. Coming to Aswathy, she had the
support of live accompaniment, and the use of
Harmonium was unique. She began with an invo-
cation to Lord Ganesha, followed by the endearing
padam “Ajithahare jaya...” from ‘Kuchelavrutham’
Kathakali.
Sandra Pisharody and Vidya Pradeep fared well
as in the other festivals, and the rest of the fea-
tured dancers were Kalamandalam Krishnapriya,
Mythili Anoop, Swetha Mangalath, and Rekha Raju.
Sithara Balakrishnan who performed on the con-
cluding day of the festival emphasised on the nritta
aspect bringing to her recital two compositions of
Kavalam, followed by the Swathi Thirunal padam
“Poonthen nermozhi...”.
Gowri also hosted an online Onam festival, the
highlight of which was Mohiniyattam recital by
Rashmi Menon. After the invocatory piece ‘Ananda
Ganapathi’, she moved on to “Sree chakraraja...”
composed by sage Agastya in ragamalika set to
Adi tala. In the enlivening choreography by guru
Kalamandalam Kshemavathy, the dancer extolled
the virtues of goddess Lalithambika and offered
her, humble salutations. Rashmi concluded with
‘Shanthi Mangalam’ hoping the restoration of hap-
piness and peace worldwide.
Indo American Association, Houston in collabo-
ration with Orissa Dance Academy hosted ‘Uda-
yaraga’, an online dance festival featuring prom-
ising talents. A similar initiative by Prithvi Arts,
‘Prithvi Prayana’ also caught the attention.
Salutations to Indian culture
‘Namaste 2020’, the virtual global festival conceived
by Center for Soft Power, a non-profit organiza-

Rashmi Menon performs "Sree chakraraja..." as part of her recital presented

at the 'Mohiniyattam Festival' by Soorya India in 2017.
PHOTO: HAREE FOTOGRAFIE [ARCHIVES]
artograph
tion, caught worldwide atten-
tion through the participation
of Indian talents, diplomats, and
noted speakers. Spanning across
August and September, with
more than thirty sessions, in the
form of panel discussions, semi-
nars, and workshops, it touched
upon multidisciplinary streams
including performing arts, aca-
demics, health systems, technol-
ogy, fashion, and religion. Among
these, the sessions on the 23rd and
28th of August came as a delight to
art enthusiasts.
Titled ‘Artists on the Global Stage’,
the former session had a panel
discussion centred on the uni-
versality of Indian art pedagogy
and practice chaired by Rukmini
Vijayakumar, and attended by
dancers Arushi Mudgal and
Sooraj Subramaniam, sitarist
Purbayan Chatterjee and percus-
sionist Karthik Mani.
The second session titled ‘Classical
Dance and Discussion’ streamed
Bharatanatyam productions by
Parshwanath S. Upadhye and
Renjith Babu - Vijna Vasudevan
duo. In a highly power-packed
performance embellished with
quick-paced jathis, Parshwanath
presented ‘Shivananda Lahari’,
wherein he transformed into the
dancing God on a physical and
metaphysical level.
The verses chosen from the work
of Adi Shankaracharya were
interwoven in the form of stories
GENERAL
2020 JUL-AUG | VOL 02 | ISS 04 26
on Lord Shiva, elaborating on his
features and magnanimity. Set
to music and sung by Srikanth
Gopalakrishnan, the production
had the backing of a bunch of
experts. However, the lack of ade-
quate lighting somewhat limited
the experience.
In an enticing duet, Renjith-Vi-
jna performed ‘Dasavatha-
ram’, based on Jayadeva’s ‘Gita
Govinda’, offering prayers to
Lord Vishnu, elaborating on his
ten incarnations and defining
the purpose of each of them. Set
to music and choreographed by
guru C.V. Chandrasekhar, the
piece re-adapted to feature the
duo, was set to ragamalika and
Adi tala.
A discussion on the topic ‘Nav-
igating Arts through the Pan-
demic’, moderated by Anupama
Hoskere followed. Monica de la
Fuente, a Bharatanatyam dancer
from Spain, Parshwanath, Shruti
Gopal, Renjith, and Vijna partici-
pated.
SOFTPOWER
fb.me/softpowermag
Ranjith and Vijna during their presentation of
'Dasavatharam' and Parshwanath S. Upadhye
(left) performing 'Shivananda Lahari'.
SCREEN CAPTURES
27 GENERAL 2020 JUL-AUG | VOL 02 | ISS 04
An artistic debate
Colorado Fine Arts Associa-
tion also organized an event in
similar lines on the 16th of August.
Titled ‘Samvada’ a conversation
between Carnatic music and
Bharatanatyam, featured the
artist couple Rithvik Raja and
Shweta Prachande. A concert
featuring the duo followed by a
discussion, aimed at exploring
the medium of dance, music, and
their confluence.
In the tuneful exchange of music
and dance, Shweta enlivened the
musical aspect in dance through
four dance pieces. Interesting
was the piece “Manavyalakin-
chara....”, in which the exchange
between the singer and the vio-
linist in the pre-recorded music,
paved the way for dance pre-
sented by Shweta.
The one-hour performance con-
tinued to a live interactive session
where the artists discussed with
Praveen Kumar (from left), Pavitra Krishna Bhat,
and Narthaki Nataraj perform at 'Devi Bharatham'.
SCREEN CAPTURES
Vishy Lakshmanan, the switch
to digital platforms, striking a
balance between content and
presentation, and the impact
of COVID-19 over their artistic
career.
Revisiting past events
‘Devi Bharatham’, the signature
dance festival curated by Nat-
yarangam, Chennai in the year
2019 received huge laurels for
the excellence of its participants.
Shared by the YouTube channel
Natyarangam NGS for a limited
period - a video scheduled for
each week in July, the recorded
videos of the event gave an
insight into performances that
stood out conceptually and aes-
thetically.
Conceived as a five-day event,
seasoned dancers celebrated
the female goddess by person-
ifying her as Janani (Creator),
Harini (Mahalakshmi), Paalini
(Protector), Vani (Saraswati) and
Poorani (Ultimate Reality). Divya
Shivasundar performed ‘Janani’
enumerating upon the different
artograph
A conflluence of dance and music, Shweta
Prachande and Rithvik Raja during 'Samvada'.
SCREEN CAPTURE
COLORADO FINE ARTS ASSOCIATION
youtube.com/colfinearts
facets of the mother goddess.
Meera Sreenarayanan, in her
maiden thematic production,
conceptualized ‘Harini’ wherein
she took the form of a bee which
seeks the Paramathma through
Harini who acts as a guide. Pavitra
Krishna Bhat who performed on
the third day portrayed ‘Paalini’,
through the legends of Abirami
Pattar, Bandasura, and Mata
Bhavani - all woven into his
recital.
Praveen Kumar dwelled deep
into his topic and came out excep-
tionally well in the portrayal of
‘Vani’ who is the embodiment of
all knowledge. The concluding
performance was by Narthaki
Nataraj, who chose to present
‘Poorani’ - the ultimate reality.
Dance productions
The Malayalam month of Karki-
dakam, observed as ‘Ramayana
Masam’ is a season of spiritual
significance. To mark the occa-
sion Padmini Krishnan and
Draupadi Praveen, better known
by their stage name ‘Neelamana
Sisters’, paid a dance offering
tilted ‘Theerthadanam’. Based on
Swathi Thirunal’s “Bhavayami
raghuramam...”, the two imag-
ined it as a virtual pilgrimage
through important episodes of
‘Ramayana’.
CONTINUED ON PAGE 37 ►
artograph FEATURED
2020 JUL-AUG | VOL 02 | ISS 04 28

spirits
Recharging the

HAREESH N. NAMPOOTHIRI

W
hat about a dance festival featuring con-
temporary to Kutiyattam to Theyyam
to a Bollywood dance number, all
under the label of Indian dance? The
39th Battery Dance Festival, on its
day dedicated to Indian dance,
had this potpourri to offer for
the dance lovers. Bringing all
together in a seventy-minute
package also meant that the idea
was to give a sneak-peek into the
different repertoires, rather than
having full-fledged presentations.
Intros given to each segment by Rajika
Puri, the co-curator of the festival, was also in
this direction.
Recognized as New York City’s longest-running
free public dance festival, the pandemic left BDF
with no alternative, but to change its program
from the open platform of Battery Park to their
YouTube channel. However, they didn’t ditch the
venue entirely, and the opening Bharatanatyam
recital by Sophia Salingaros was performed and
recorded on the same stage.
Classical snippets
Sophia chose to perform “Shambho Mahadeva...”
a Tyagaraja composition in raga Pantuvarali.
Battery Dance Festival’s
Sophia danced effortlessly to the choreography day dedicated to Indian
loaded with jathis. She was also able to present those dance gave a sneak-
striking postures skillfully. As the item focused on peek into the different
dance, the quick take of Shiva trapping the Ganges
in his long locks of hair went passive. dance forms of the
country.
Sophia Salingaros performs "Shambho Mahadeva..." at the Battery Park
venue, on the banks of Hudson River, Lower Manhattan.
PHOTO: RUSSELL HAYDN PHOTOGRAPHY
29 FEATURED
2020 JUL-AUG | VOL 02 | ISS 04
Pallavi pieces in Odissi dance
provide for a joyful watch. The
oft-seen one based on rag Arabhi,
choreographed by guru Kelucha-
ran Mohapatra is one of a kind.
The disciples of Bijayini Satpa-
thy, Akshiti Roychowdhury and
Prithvi Nayak, chose to present
this Pallavi during their slot and
they didn’t disappoint. Artisti-
cally bringing the structural aes-
thetics of the dance form, the two
danced gracefully.
For those who are familiar
with the art form, less than six
minutes of Kutiyattam offers
nothing. Though mentioned as
the finale of ‘Kurmavatara’ play,
the piece shown here was the last
five minutes of a performance,
meaning, the climax was long
over! The whole ending portion
edited to fit into an extended ten
minutes might have been better.
The video quality was also dis-
appointing, making one wonder,
why Kapila even agreed for it!
Sreelakshmy Govardhanan, on
the other hand, made the best
use of the opportunity by literally
taking the viewers to Dandakara-
nya, where Shurpanakha meets
Rama, Sita, and Lakshmana.
Choosing a jungle-like location
artograph
Akshiti Roychowdhury and Prithvi Nayak
performed a Pallavi piece in Odissi. Sreelakshmy
Govardhanan (bottom) roleplayed as Shurpanakha
in her presentation.
SCREEN CAPTURES
BATTERY DANCE
youtube.com/batterydance
for the shoot certainly helped in
creating an impact through the
six-minute video. Sreelakshmy’s
involved but subtle abhinaya
further made it an absorbing
experience.
Ritualistic experience
The video showing Theyyam was
more like a six-minute docu-film
on the ritual. Focusing on the per-
former Pradeesh K. Thiruthiya
and his transformation into the
Bhagavathi Theyyam, the video
might have made the unfamiliar
audience curious. There are as
many as forty principal deities
and a total of four hundred differ-
artograph
ent Theyyams altogether. And the
ritual spans across many hours
in separate stages. Adding a nar-
rative highlighting these aspects
would’ve made it meaningful. As
such, whether it would’ve given
a fair idea about the ritualistic art
form is rather doubtful.
A mark of contemporary
The festival also had a segment
featuring contemporary dance
productions starting with Sooraj
Subramaniam’s ‘Two Minutes of
Movement’ at the beginning.
Almost all of them utilized the
medium of the video very well
to create unique experiences.
If presented live on stage, it
all would’ve made a different
impression. Each was unique on
its own, and ‘Grapple’ directed
and presented by Santosh Nair
along with Sudhir Kumar and
Sahul Bhatia was remarkable
in execution and flawless video
editing. Aditi Mangaldas revisited
her 2006 work ‘Zero Moment’ at
the time of lockdown. ‘Samsara’
by Aakash Odedra and Hu
Shenyuan was yet another one
in the segment.
“Gallan goodiyaan...”, a Bolly-
wood number from 2015 film
‘Dil Dhadakne Do’ was the finale.
A song with a Punjabi touch
and with everyone on the floor
dancing, it helped to end the
session on a high note.
Presented for a global audience,
the dance festival, utilized the
FEATURED
2020 JUL-AUG | VOL 02 | ISS 04 30
The co-curator Rajika Puri (top). Pradeesh K.
Thiruthiya looks into the mirror after finishing his
makeup before he slips into the divine form.
SCREEN CAPTURES
potential of the streaming plat-
form and showcased items which
might not be possible to perform
live on stage. For instance, taking
a Theyyam all the way there, in all
its glory, might be nearly impossi-
ble. It is in that aspect BDF made
an impression. Perhaps they
could’ve given a little more time
for a few of the artists so that it
would’ve done more justice to
the artform and the presentation.
Something that they could take
care of in the future.
The nine-day long Battery Dance
Festival was from the 14th to 22nd
Aug, and it was the 15th, the day
of Indian Independence, dedi-
cated to dance forms and dancers
of Indian origin. ●
Scenes from 'Grapple' and 'Amorphous... the Zero
Moment' (bottom) streamed as part of the dance
festival.
SCREEN CAPTURES
31 INSIGHT
2020 JUL-AUG | VOL 02 | ISS 04
artograph

Navarasa
crossing bounds
GOPIKA RAJ PILLAI

■ JAYALEKSHMI R.
The evening was cold and bleak, and there I stood, in front
of an old ancestral house, waiting for a friend. The building
had many signs of decay but seemed like cleaned up recently.
Nobody answered when I knocked on the old door. But when
I tried rapping, the door opened up on its own. The sicken-
Navarasa Sadhana ingly dry, sweet metallic smell there was so striking. It was
as silent as the dead. “Hey, hello?” I called. Again, nobody
is a very personal answered. The corners were shrouded in darkness, and
experience, and for everything seemed colourless as if life sucked out of them.
anyone who would like As I walked forward timidly, I stepped on something wet. I
looked around and saw a door slightly ajar. In the red-hued
to explore the world light coming through, I noticed water flowing out from there.
of Abhinaya, it would When I opened the door, I found the light bulb burning bright
be an adventure worth behind a red curtain. I yanked the curtain wide open. I real-
enduring. ized that the water on the floor was thicker than usual, it was
blood. It was then a humungous, ferocious, red-hued figure
with many hands hovered over me. The last thing I saw was
a pair of huge, bloodshot eyes.

GOPIKA RAJ PILLAI is a young aspiring
Bharatanatyam dancer who’s a dis-
ciple of guru Nirmala Nagarajan. She
has received many accolades and is a
Doordarshan graded artist. She is doing
bachelors in English literature, is an avid
reader, and also an amateur musician.
T
his was my improvisation for the rasa ‘Bhayanakam’ at
‘Navarasa Sadhana’, a fifteen-day acting workshop conducted
by Natanakairali - Research Training and Performing Centre
for Traditional Arts. An indigenous technique developed by guru G.
Venu, the director of Natanakairali, the workshop tries to evoke the
nine rasas mentioned in the Indian aesthetic treatise, Natyashastra,
artograph
aided by the theatrical form of
Kutiyattam. The regularly con-
ducted workshop at the institu-
tion shifted to an online mode
this time in the wake of the pan-
demic situation.
G. Venu’s acquaintance with Kuti-
yattam began after a long associ-
ation with Kathakali. Ammannur
Madhava Chakyar’s performance
and his profound usage of the
eyes while emoting attracted
Venu and inspired him to learn
Kutiyattam. During the learning
phase under the legend, Venu
came to know that Madhava
Chakyar was one among the last
students of Kunjunni Thampu-
ran, of the Kodungalloor Kov-
ilakam, who taught a breath-
based abhinaya system called
‘Swara Vayu’. After many years
of research and practice, Venu
formulated ‘Navarasa Sadhana’,
utilising the technique of Swara
Vayu. Later he started to offer
training in the same through
workshops of different phases.
Creating realities
When one hears the word Sring-
ara, the first impression created
in mind is that of a smiling,
bashful face. The rasa indeed
evokes those elements, but that’s
not the essence of it. Sringara is
about feeling the love. It is like
what one feels while meeting
with a most beloved person,
experiencing that favourite scent
and hearing that most melodi-
ous voice. When these appear in
imaginations, one starts smiling
unintentionally. That is the soul
of Sringara. Acting is not about
positioning your face a certain
way, but it is about feeling in a
certain way. And that feeling is
the result of imagination.
During workshop sessions, guru
Venu always remarked, “You can
only go as far as you can imagine.”
The imagination should not stop
at just the setting or character.
One should carefully visualize
even the finer details like the
colour of the leaves of a tree in a
scene. Once you start envisioning
such fine details, it all gets very
realistic.
A similar idea comes in the
Christopher Nolan movie ‘Incep-
tion’. It’s about conceptualizing a
world, so detailed that it becomes
a reality in our mind. And when
one responds to that reality, it
gets as truthful as the reactions
in real life. As a result, you smile
in Sringara, shiver in Bhayanaka
and vomit during Bibhatsa.
Exploring the rasas
Each rasa got explained in detail,
including the importance of the
five senses and the technicali-
ties of the pieces. We personified
Ravana in Veeram and Bhima in
Raudram. We tried to sense what
INSIGHT
2020 JUL-AUG | VOL 02 | ISS 04 32
they might have experienced
and had in their minds. The most
unique of the whole affair was
the idea of Vyabhichari bhavas
(transitory sentiments).
We had to endure some of them
through portraying feelings like
Dāridryam (poverty) and Vyādhi
(illness). These experiences are
something most of us, fortu-
nately, haven’t gone through.
So, to imagine that situation
and enliven that part even for
a short duration was cathartic.
Since ours was an online batch,
we made videos of us, exploring
some of these experiences of the
Vyabhichari bhavas.
As a mentor, Venu has given
complete freedom to explore the
rasas and experiences associated
with it. He did not interrupt the
performances or gave feedback.
There were no restrictions on
time, content, or portrayal. We
received complete freedom to
traverse unfamiliar territories.
What was paramount was the
experience in itself.
Of all the rasas, enactment of
Bhayanaka was done individ-
ually, as extempore, during the
class. Since we all performed in
succession without much prepa-
ration, we improvised realtime,
opening up our minds to many
new possibilities. Depictions
varied from the customary
spine-chilling ones to unusual
ones like being terrified of a
cockroach or the experience on
a rollercoaster. Each day we tried
adding more to the last day’s
improvisation or came up with
something very different. The
various raw and honest pieces
were eye-openers and gave
insight into the diverse thought
processes.
Online session of 'Navarasa Sadhana' in progress
with the participants joining from different
places.
SCREEN CAPTURE
33 INSIGHT 2020 JUL-AUG | VOL 02 | ISS 04
Transforming online
It’s usual to have reservations about attending an
acting workshop online, especially as it concerns
inter-personal interactions. One thing that we
missed was the campus at Irinjalakuda and its
natural ambience. As often mentioned by earlier
attendees, the environment gives inspiration to the
participants, and being there for a fortnight is more
like a spiritual retreat.
Being an acting workshop, batchmates and their
collective energy are also critical. Artists tend to use
these energies to play off and explore new experi-
ences. As one could imagine, being on the spot with
others, observing their artistry, and listening to
their stories would have been more inspirational.
These the participants missed in the online alter-
native. However, it had its own set of advantages.
Online classes mean flexibility and accessibility.
Distance and time are the two common reasons
that many do not attend workshops like these.
Artists living in different countries, students, and
parents with toddlers find it extremely difficult to
Gopika Raj Pillai, during one of the online sessions of 'Navarasa Sadhana'
offered by Natanakairali.
PHOTO: JAYALEKSHMI R.
artograph
commit half a month to an acting workshop far
away from home. Online initiatives make this pos-
sible. One only has to reserve two hours daily for
the class, making it feasible to learn and explore
without putting daily life on hold.
The campus does uplift the whole experience,
but for artists who have certain inhibitions or are
still learning or are coming back to the form after
a break, being inside your soothing home can be
extremely comforting. The fear of being judged
and any forms of self-doubt evade when one is in
serenity. Maybe the exchange of energies might
have been minimal but doesn’t mean it was not
there. The inspiring factors during the workshop
have been many, right from the participants to our
mentor.
Navarasa Sadhana is a very personal experience.
Another participant might share something entirely
different from that of mine. But that’s where its
beauty lies. Online or on the campus, for anyone
who would like to explore the world of Abhinaya, it
would be an adventure worth enduring. ●
 artograph INSIGHT
2020 JUL-AUG | VOL 02 | ISS 04 34

THE EVERYDAY

DANCE SPACES
SREELEKSHMI NAMBOOTHIRI
■ SANDEEP NAMBOOTHIRI

F
or centuries, the performing space has been a quintessential
factor that determines the nature and scope of any dance event.
Classical dances, in particular, have always nurtured a condi-
tioned view regarding the aesthetics of dance spaces, such as being
traditional and classy, far from mundane. The notion of the ‘sabha’
The elite space of the has been pivotal to the practice of classical dances, creating a formal
performances shrinks space restrictive to the commoners to access or watch a classical art
to the household practice.

spaces and immediate The new normal imposed by the catastrophe has influenced dance
spaces as well, doing away with the purity concepts and requirements
neighbourhood, of stage, professional lighting, proper background etc. Personal and
redefining the medium political flavours, which earlier decided the staging of performances
of the classical dances. are getting revisited with the elite space of the performers and spec-
tators shrinking to the household spaces and immediate neighbour-
hood, thereby redefining the medium of the classical. The usage of
space and its re-imagination to perform and spectate, considering the
restrictions imposed by the lockdown in India since March 2020, is
something which needs close examination.
35 INSIGHT 2020 JUL-AUG | VOL 02 | ISS 04
artograph
The everydayness spaced
Everydayness in a performance space was an alien
concept to be considered classical, as these spaces
were supposed to have a decorated, cultural aura,
attributing a privileged discourse to it. The shift to
online platforms like social media and digital spaces
goes against the concept of traditional sabha spaces
because of the democratic space it offers to both the
spectators and performers alike. It facilitates the
collective identification of a commoner who other-
wise will not be selected or invited in a traditional
system. What results is the idea of an everydayness
linked to the performance, as we see the spaces
of the terrace, kitchen, living room, veranda, all
transformed into a performance space, beautifully.
These are highly appreciated and perpetuated, as
with the pandemic there are no other options but
to utilise these spaces and normalise them.
As these shifts happen positively, criticisms also
arise against the usage of these spaces, dictating
rules over the use of backgrounds and good lighting,
only erasing the everydayness. Well-known dancer
Anita Ratnam has noted down in her column ‘Anita
says...’ of Narthaki.com last May; “I am sick and tired
of desperate dancers performing in their non-photo-
genic homes just so they are not forgotten... ...A good
connection meant that my air-conditioned room was
ideal but not the look of it - a bed and cupboards - no
no no...”. It shows how these new stigmas influence
the artists and even established dancers think it is
crucial to have an aesthetic space setting.
Deciding the aesthetics
The aspect of access and privilege to these ele-
ments of the classical and performance spaces
need review and constant questioning. Judging
the lighting to be poor would be after comparing
it to the interiors of an auditorium with technically
equipped lighting. Only a few artists already have
or will have the capacity to set up an efficient light
setting in domestic spaces for their online appear-
ances. The rest have the luxury of natural daylight
or room lights that may not go well with the defined
norms of visual aesthetics.
The point here is, spacial or technical requirements
should not be parameters to decide upon the merit
of the performance. The criticisms on social media
against the improper dancing spaces only invite
one to think of the definitions of aesthetics and
those who do the judgement for the same. These

Sreelekshmi Namboothiri feels it is neither space nor light conditions that

define how well a dancer performed in an online platform.
PHOTO: SANDEEP NAMBOOTHIRI
 artograph INSIGHT
2020 JUL-AUG | VOL 02 | ISS 04 36
infact have a close parallel to the comments by some celebrities on
the recent Tik Tok ban; like Malaika Arora commenting “Finally we
will not be subjected to people’s ridiculous videos.”
What is created as the grammar in comments like these is the concept
of the class. With the online events getting increasingly popular, one
must also look into Internet connectivity, which could also define the The appreciation of
experience. No wonder, the digital divide alienates a large section of the performances
artists from their audience as the only option is to perform live or
should be on how in
stream pre-recorded videos through digital platforms.
the available space
Looking forward and lighting, the
Earlier, it was difficult for the common masses to identify with
norms of the classical. However, with digital platforms, it became a
performers succeeded
lot easier. Regarding the merit of digital offerings, one may examine in expressing what they
the parameters that decide the outcome of an event. The appreciation intended to convey.
of the performances should be on how in the available space and
lighting, the performers succeeded in expressing what they intended
to convey. The concern should only be on what gets portrayed and
whether it reaches the spectator through the digital space.
It’s also possible to look at it in another way. The available lighting
and space conditions rather could be elements bringing in the ‘per-
SREELEKSHMI NAMBOOTHIRI is a young
sonal’ of the artiste, which we shouldn’t disdain straightaway. And Mohiniyattam practitioner, currently
let us keep in mind that such availabilities are a matter of personal pursuing her Masters in Performance
Studies. She is a Doordarshan graded
choice, just like access to the digital space, and these should not guide artist and a Govt. of India scholarship
holder in Mohiniyattam.
in determining the good and the bad. ●
■ SANDEEP NAMBOOTHIRI
37 GENERAL 2020 JUL-AUG | VOL 02 | ISS 04
FROM PAGE 27 ►
Draupadi adept in
Bharatanatyam and Padmini in
Kuchipudi together presented
the narratives in videos of short
durations, skillfully captured
and edited by Jinu Sree in pictur-
esque locations, aptly enhancing
the aesthetic appeal of their per-
formance.
‘Corona Survival’ Nangiar Koothu
based on COVID-19 pandemic
and the measures to contain it
presented by Margi Aswathy
Sajikumar was an interesting
attempt among the endless list of
videos based on this theme.
Musical sessions
Apart from the dance events,
it was refreshing to see many
SARVAMANGALA PRODUCTIONS
youtube.com/sarvamangalaproductions
'Laya Vaikhari', a nadaswara concert led by
Maruthorvattom Babu and vocal concert 'Pibare
Rama Rasam' ft. Bhargavi Venkatram (right)
organized by Sarvamangala Productions.
SCREEN CAPTURE
music concerts happening online.
Natana Tarangini Academy over
their Facebook page conducted
a premium concert series featur-
ing talents in Carnatic vocal and
instrumental music. YouTube
channel Sarvamangala Produc-
tions hosted Carnatic concerts
of Sudha Ragunathan and Bhar-
gavi Venkataram. Titled ‘Laya
Vaikhari’, a near one-hour nadas-
waram ensemble performed by
Maruthorvattom Babu, Pana-
manna Sasi, Mattannur Sreeraj,
and Kavalam Sreekumar served
as a musical treat in itself.
Traditions online
Margi and Nepathya Centre
for Excellence in Kutiyattam,
artograph
A visual from 'Theerthadanam' by Neelamana
Sisters - Padmini Krishnan and Draupadi Praveen.
SCREEN CAPTURE
NEELAMANA SISTERS
fb.me/nrithyasamanya
adjusted to the shift to the online
platforms very well. In the case
of the former, the ‘Mudraparicha-
yam’ classes led by Margi Usha
gave way to ‘Kutiyatta Paricha-
yam’ classes by Margi Sajeev
Narayana Chakyar. They touch
upon the nuances of the art-form,
and are very informative.
Nepathya continued with their
weekly online performance
series, and those who gave per-
formances include Nepathya
Sreehari Chakyar, Neapthya
Rahul Chakyar, Nepathya Yadu
Krishnan, and Indu G.
They also hosted a ten-day Pra-
bandhakoothu festival in August
titled ‘Gurusmarana 2020’, in
commemoration of Moozhik-
kulam Kochukuttan Chakyar.
Earlier in July, Ammannur
Gurukulam also hosted a ten-day
festival in honour of Amman-
nur Madhava Chakyar which
progressed mainly in the form
of webinars and lecture series.
Nepathya team led by Margi
Madhu performed ‘Kalyanasau-
gandhikam’ Kutiyattam during
the event.
As online initiatives become
common, the technical aspects are
getting better setting new bench-
marks for digital performances.
Many artists struggle, unable to
catch up with the refined stan-
dards, and the expense incurred
in meeting them. The rasikas be
thoughtful of this as well while
enjoying the performances in the
comfort of their homes. ●
PRIYANKA B. is a post-graduate in English
literature and an art enthusiast who
enjoys photographing classical dance
performances. She currently works as
Postal Assistant with Department of
Posts, India.
artograph TALKING FRAMES
2020 JUL-AUG | VOL 02 | ISS 04 38
39 TALKING FRAMES
2020 JUL-AUG | VOL 02 | ISS 04
Back to home: A group of Arabian Oryxes are
returning home as the Sun bids farewell in the
background. Classified as 'Vulnerable' by the
International Union for the Conservation of
Nature, this species is adapted to live in desert
habitats and harsh climates. Shot form the near
the Al Qudra Lake, Dubai, the evening hues make
the picture eye-catchy.
EXPOSURE: 1/640 | F8 | ISO 640
CANON EOS 1D X MARK II / SIGMA 150-600MM F/5-6.3 DG OS HSM
FEATURED
NOUSHAD
K.A.
Secrets untold: Captured from Al Qudra Lake
(Dubai), the picture portrays a beautiful moment
in which the Flamingoes get closer. Shot in the
morning twilight after a long wait, the natural
fog in the atmosphere lends a mystic feel to the
image.
EXPOSURE: 1/4000 | F6.3 | ISO 320
CANON EOS 7D MARK II / SIGMA 150-600MM F/5-6.3 DG OS HSM
THIS SEGMENT IS FOR SHUTTERBUGS AND FEATURES ONE TALENT
IN EACH ISSUE ALONG WITH TWO PHOTOGRAPHS.
artograph
N oushad K.A., hailing from Thrissur in Kerala is a UAE
based passionate wildlife photographer. Profession-
ally, an IT and electrical technician who works with the
Dubai Electricity and Water Authority, his passion for
wildlife took him to the natural habitats of various birds
and animal species worldwide. He has exhibited his
photos at the Paws Trails International Wildlife Festival
(National Geography, Abu Dhabi), Open Origins - Open
Ends International Exhibition (PhotoMuse) and exhibition by Kerala Lali-
thakala Akademi, Thrissur. Popularly known as Nachu Seena across social
media platforms, his frames are extraordinary for the intriguing moments
that he perceives in a scene combined with the natural lighting.
How did you initiate into photography?
Passionate in photography right from childhood, the scenic beauty and little
wonders of nature always made me curious. Victor George and N.L. Bal-
akrishnan had been inspiring factors, and the more I started observing the
photographs of seniors, I grew closer to the vocation. During a family tour, a
friend handed over a Canon PowerShot, and that was the first camera I used.
About your area of interest in photography...
I have an innate flair for capturing birds and wildlife. The vibrancy and live-
liness of these subjects help one realise the unseen moments in daily life.
My love for nature has been instrumental in choosing frames, and I always
prefer shooting in natural lighting conditions.
And your current gear in use...
Currently, I am using the Mark II variants of Canon 7D and 6D cameras along
with lenses Canon 100-400mm, Tamron 150-600mm, Canon 16-35mm and
Canon 35mm.
Facebook page: fb.me/nachuseenas
 artograph GENERAL
2020 JUL-AUG | VOL 02 | ISS 04 40
Playlist Readers’ Response
Kottichetham ft. Methil
Devika & Arun A. Azeez
06:55 | 2020 Aug 28
‘Kottichetham’ is the dance of Shiva and Par-
vathy mentioned in ‘Chilapathikaram’. This
dance video is an excerpt from a dance inten-
sive at Methil Devika’s kalari.
Watch it here: bit.ly/ag-kottichetham

‘Manu Master’ by Shruthi

Namboodiri
10:25 | 2020 Jul 21
A documentary film by Shruthi Namboo-
diri on Abdul Munaf, aka Manu Master, a
Bharatanatyam dancer who has started his
artistic journey in the 1960s.
Watch it here: bit.ly/ag-manu-master

‘Jagratha’ Kathakali by
Margi Theatre Thank you
06:16 | 2020 Jul 18 Artograph is a beautiful culmi-
nation of art. The sheer joy of
Margi, a Kathakali and Kutiyattam institution
based out of T’puram, brings you a majestic
experiencing the very essence of
rendition portraying how humans can prevail art is beyond words. Thankful to
over COVID-19. artograph team for bringing out
Watch it here: bit.ly/ag-margi-jagratha such a lovely magazine for the art
lovers. Much love.
“Ajitha hare...” ft. Vadasseri
U.S. Krishnanunni
Sivadas & Vishnuprasad Marar Art Enthusiast (Thrissur, Kerala, India)
06:23 | 2020 Jul 08
Blue Planet Cinema brings “Ajitha harejaya...”
in Nadaswaram ft. Vadasseri Sivadas, as part
of their ‘Nadamohanam’ series under the
‘Abhinavabharatham’ project.
Watch it here: bit.ly/ag-nm-ajitha

‘Reticence’ ft. Rukmini Vijayakumar

We do love to hear from
03:10 | 2020 Jul 01 you. Please do send
Rukmini Vijayakumar dances to ‘Maverick’ in your feedback and
track by Simply Three band in an attempt to comments using the
investigate the feeling of inhibition and reti- online form available in
cence that governs such a large portion of our here: bit.ly/ag_response
lives as humans. OR write to us at
Watch it here: bit.ly/ag-rv-reticence artograph.mag@newnmedia.in
ADVT.