To celebrate dance, an 11-day event was held across Mumbai, with solo, duet and group performances in various styles, workshops, lecture-demonstrations and talks that brought the dance fraternity together.
The inaugural event at NCPA, Tata theatre, featured eight classical forms by resident artistes of Mumbai. Conceptualised by Jhelum Paranjape and Uma Dogra, it offered a diverse menu, from the popular Bharatanatyam to the lesser known Sattriya.
“It is also a celebration of the Mumbai spirit, which warmly welcomes people to the city,” said Paranjape.
“It is to show the spirit of oneness among artistes... Although Asha Joglekarji is not there, there are conveners who think of supporting her disciples as a moral responsibility,” pointed out Uma Dogra.
Renu Sharma involved the audience in ‘Nritya Basant’ with her impromtu introductions. They became immersed in the imageries of Vasant ritu, Holi on the banks of Varanasi, call of Krishna, Dandiya, phugdi, Radha and gopis, in the afternoon sun at the sunken garden, NCPA.
The presentations included Odissi by disciples of Daksha Mashruwala, Kathak by disciples of Uma Dogra, Kathanritya based on Tagore’s Abhisaar, Chunari by Shila Mehta (Kathak) in traditional raag Basant, Rhythm collage by Rujuta Soman and Veena Venu Vasantam by Lata Surendra and troupe.
In ‘Beyond border’, Sunil Sonkara performed to the tune of saxophone.
In an informal setting at the foyer of Experimental Theatre, Kathak guru Shama Bhate explained the creation of Pratibimb, by Mayurbhanj Chhau performing unit from Balipatha, Odisha, using a video recording of rehearsals that proved the connect across borders, and tied together Kathak and Chhau, keeping the ethnicity intact. “Chanda (rhythm) is universal,” said Bhate. The show at NCPA followed the same evening.
Learning sessions
Research paper reading on ‘Role of theory and practice in Indian classical dance’ was organised by Sandhya Pureccha and held at Bharata College of Fine Arts and Culture.
Mohiniyattom exponent Mandakini Trivedi presented a lecture demonstration on Abhinaya, while Bharatanatyam dancer-guru Jayashree Rajagopalan highlighted aspects of Nritta Karanas at the Murugan temple, Chembur, hosted by Shanmukhapriya and dance guru Jayashree Nair.
The importance of nattuvangam and music in Bharatanatyam, detailed by Harikrishna Kalyanasundaram and senior vocalist Saraswati Subramanian, was organised at Vashi by Gayatri Subramanian, under the aegis of Guru G.V.Ramani’s Natya Kala Foundation.
The Kathak Workshop by Mangala Bhatt, was organised by Samved Society for Performing Arts and Uma Dogra School of Kathak. ‘11 Matras Ashta Mangal,’ composed, created and choreographed by the late Durgalal was an emotional subject for Uma Dogra and Mangala Bhatt.
‘Riyaaz,’ an open class for understanding the nuances of layakari in Kathak, was presented by Gauri Sharma Tripathi at the Ankh Studio, Deonar.
Workshop for senior dancers on exploring choreographies by Dr. Kanak Rele was held at Nalanda, while a talk on collaborations: what, why and how by Joanne De Souza and Misty Wensel was at the Sea View, NCPA.
Utkarsh Manipuri, lec-dem at the NCPA, by veteran artiste Darshana Jhaveri, along with her senior disciple Latasana Devi, celebrated the birth centenary of Guru Bipin Singh.
Two lec-dems back to back was hosted by Powai Fine Arts, in association with NCPA and Nahar International School, Chandivili.
Lecture-demonstration on lateral teaching by Nalini Raghu, senior guru of Pandanallur bani, was all about adapting to changing times. She drew a parallel between her rigorous in-house training for six hours a day, all through the week, under gurus Pitchaiya Pillai and Lakshmikantam, to the current scenario that addressed the changing needs of today’s learner. “Dance is like learning to speak a language,” she said.
Nalini Raghu at her lec-dem.
She teaches adavus not in entirety but as korvais that could be used straightaway. “This, in no way diminishes their grasp on rhythm. Focused training ensures perfection,” she added.
Dr. Sucheta Chapekar, in ‘My journey from 1963 to 2018’, talked about the changes in her repertoire, and those her teacher adopted to make the art form inclusive in Maharashtra. Her innovative concept ‘Nritya Ganga’ was a conglomeration of Hindustani music and Bharatanatyam.
The Mumbai Season was a wholesome celebration of arts, where performing and learning got equal importance.
