At the surface, there are similarities - for example, the square, squatting strength of the chauka is almost directly mirrored in the Kandyan seated posture known as ‘mandiya’ coming from the word ‘mandala’ (an ornate religious design that employs geometry). Yet a closer look at the production revealed that the understanding of form has been dissected in choreography to its most basic units, and this exploration is what ties together this collaboration. When asked whether she conceived this production as a fusing of ideas or as a conversation, Surupa Sen clearly chose the latter. The final piece, ‘Aalaap’, was an excerpt from ‘Samhara’. Shaivite iconography was further explored through the piece as Pavithra Reddy joined her on stage. The third piece, Ravana Tandava stotram, began with a solo section by the agile Thaji Dias, representing the character of Ravana in an ode to Kandyan dance and Sri Lankan traditions. The conclusion of this piece demonstrated a contrast between the majestic chariot of Puri Jagannath being pulled forward by all the dancers in the quietude of the instrumental music. This was followed by the Purna Aarati, where the dancers assumed a jigsaw-like formation in Lynne Fernandes’ hazy soft-lit oeuvre, undulating ever so slightly, to emphasise the movements that operate laterally in the Odissi body and vertically in the Kandyan one. Opening with two dancers in opposite directions occupying a fierce, rooted chauka positions, the piece set the tone for the kaleidoscopic movements to come. The performance, structured into four main pieces, began with a Sankirtana that highlighted different aspects of Vaishnavite mythology. The Nrityagram ensemble embodied the Odissi form in its most aesthetic avatar, traversing the stage with the characteristic, sinuous grace of the form. Drummer Waruna Sri Hemachandra enhanced the Kandyan dance portions with his precise playing. The statuesque dancers of the Chitrasena are no strangers to the Indian audience, and it was a treat to see two male dancers in this production (Kushan Milind and Akila Palipana) in addition to female dancers, Sandani Sulochani and the exemplary Thaji Dias. Lynne Fernandes’ eye for colour aided the magic, sometimes washing the dancers in a dramatic blue, and at others, lighting them like temple sculptures from sides, accentuating their silhouettes.Īfter ‘Samhara’ (2012), the earlier collaboration between the two dance companies, ‘Ahuti’ is the second joint production. Just when the mind understood a line that the dancers created on stage, it evolved into a curve, then a circle, and with the blink of an eye it became a dissolving square. The choreographic brilliance of Surupa Sen and Heshma Wignaraja lay in the moments of transition, where dancing bodies melted and morphed through light and shape before our very eyes. An offering to the audience, the forms of Odissi and Kandyan dance, and to the pliable, athletic bodies that create this art. ‘Ahuti’, the Sanskrit term for ‘offering’, was just that. This collaboration with the Chitrasena Dance Company was characterised by stunning visuals, inspired choreography and an evocative soundscape. Their latest production ‘Ahuti’ was no exception. Read more.Over the years, Nrityagram, in the able hands of Surupa Sen and lighting designer Lynne Fernandes, has evolved its own aesthetics of presentation.
Akhil Bharatiya Gandharva Mahavidylalaya Mandal is a virtual continuation of this Gandharva Mahavidyalaya. Vishnu Digambar Paluskar and the Gandharva Mahavidyalaya established by him in 1901 at Lahore. No treatise of musicology in India will ever be complete without making a study of life of the great visionary late Pt. He conducted music programmes in different states in India and received accolades and recognition. Paluskar set out on a Bharat Yatra in the year 1896 with his two disciples. With a single aim in mind to uplift music, Pt. The art of Indian music, which in the days bygone, had enjoyed the privilege of honour and esteem in the royal court, was deprived of it in the mid-eighteenth century. Mandal's General Body consists of members not only from almost all the States in India but from abroad also. Gandharva Mahavidyalaya Mandal works for the promotion and propagation of Indian Classical Music and Dances with its main Sangeet Vidyalaya in Vashi, Navi Mumbai and has nearly 1200 affiliated institutions and nearly 800 Exam Centres all over the country from Assam to deep South Kerala and more than One Lakh students take examinations every year from Prarambhik (Beginners level) to Sangeet Acharya (Ph.D. WELCOME TO AKHIL BHARTIYA GANDHARVA MAHAVIDYALAYA MANDAL
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