September 2nd, 2010

Nritarutya is honoured to be invited to present its work at the prestigious “Sangam” Festival by Art Vision founded by Dr.Ileana Citaristi.

SANGAM, A CONFLUENCE OF DANCE has been an annual dance festival of Art Vision since 2005. The festival is conceived as an offering of new and exclusive choreographic compositions in two different dance styles in honour of all the Gurus who have guided and inspired us. Every year two styles of dance come together on the same platform to showcase recent and innovative works. While Odissi is a constant factor, the other style varies.

This year Nritarutya has been to represent the Indian Contemporary dance genre. We are presenting a production comprising of unique pieces from our repertory, choreographed by Mayuri Upadhya and Sathya B G. An exciting experiment of ideas and movements in dance, the presentation explores concepts of mythology to modern age themes.

This year the repertory group of Art Vision will premiere the work KARUNA, inspired by Mother Teresa’s life. The script has been jointly written by Devdas Chhotray and P.K. Misra and music by Laxmikanta Palit. The choreography is by Dr IIeana Citaristi.

The program will open with a projection of select items from Sangam festivals 2005-2009. The other accomplished artists who have earlier performed in this festival are Smt.Priti Patel, Smt.Priyadarshini Ghosh, Smt.Rajashree Shirke, Smt.Vijayanthi Kashi and Smt.Parvati Dutta.

We are delighted to invite you all to celebrate dance at the Sangam Festival on September 10th, 7 pm at Rabindra Mandap, Bhubhaneshwar.

August 24th, 2010

The intent was to do hip hop but y does it look like moves stolen from a Chinese fight sequence blended with a real bad MJ impersonation. Well, I’ve been askin myself this q evrytime I watch somin on indian television where someone is trying to krump with an oversized pull over( Intentionally worn) trying to point towards his man b**bs with those arthritis fingers. Well you have to appreciate his guts, after all he is doing this to himself on national television, but wait a minute; I also saw about a hundred odd dancers imitate his moves in a local competition in the city, where has it gone wrong??????
Well honestly I don’t know; may be for them it just didn’t matter as long as they had fun. Well things were not that different when I was growing up, shaking a leg for everything possible MJ, Ricky Martin, BSB, Shivarajkumar, Mamooty….. just about anything that inspired us to move. And the moves we did would resemble anything from riding a bicycle to peeling bananas.
My affiliation with hip hop is like Britney Spears’s brain; Though biologically you might prove it exists, it’s hardly any proof????. With a little professional training, I decided that hip hop is my second favorite dance form. Well I would not say I was very bad at it, when compared to the guy with the arthritis fingers. Not to brag or anything, but I’m naturally good with movements and hip hop comes with less effort. I could really make people believe that I know what I’m doing, Kinda like what our Indian cricket team does with their fielding. My folks at the company were so impressed they made me take a couple of technique sessions for them, well, glad I could help.
You know this thing that you really like, not very good at, but you keep doing it and eventually get better at, the same thing happened to me. As a dancer it gives you time to understand a movement form, its history, origin and its purpose. You will question yourself about why you like it so much or why the movement flows naturally in your body. Answering this might help you understand your connection with the dance form and once you have done that all you need is an inspiration point to create movements, which in my case was just about anything.
It’s really important that you know what you are going to do with all the knowledge you have acquired, Well NOT REALLY. I never learnt anything with an intension to make good use of it, I’ve got proof- 18 years of academic education and I’m a full time dancer. It really does not matter, you know how they say, everything happens for good; My CREATIVE IMPULSE told me to do something brave and stupid, well I rule the kingdom of ‘The Brave and Stupid’; hence I went ahead and did it. I thought why not find a connection between my two favorite dance forms- Hip Hop and Indian contemporary( suggested names for the dance form- Indian Haap, contemporary Hip……..). Guess what, it is not as ridiculous as it sounds, it looked much better than the omlette I made for the first time (another one of my brave and stupid decisions). It looked refreshingly new and made sense to me. To think of it, both of these dance forms are very similar in its origin- I am of the belief that hip-hop culture can be seen as a form of
struggle against the wider society whose belief and values are generally
accepted in the society. It can be seen as a religion because it holds its own
values and beliefs. And contemporary dance was a movement started against the rigid classical dance form.
Things became much clearer when I started to choreograph (Which I have elaborately explained in my next blog ‘How NOT to choreograph’), Hip hop is a vast language and there is a wide range of styles one can get inspired to create movements from. And the culmination of the two languages has to be interesting, right? At this point you might think the movements might look like, cheese burger with pudina chutney, statue of liberty holding a Taras in hand, Barack Obama in lungi ……, but it was not like that at all, atleast that’s what I thought, well unfortunately my dancers thought differently, to be more specific they stopped thinking. Everytime I showed them a movement, they looked like they just came out of the movies after watching ‘Inception’. Well, after a lot of trial and error (mostly error), all of us landed in the same page; after all, dance is the easiest language to learn. The dancers took it pretty well, to be fair to them. In the beginning, for them, it was just movements and they didn’t want to look beyond it, which kinda worked for me. It was important to keep alive the aesthetics of Indian dance, while achieving the dislocated and disfigured movements. At the end of the day I’m happy, kinda like how Isaac Newton would have felt, for not having sat under a jackfruit tree………….. I’m not saying this is the most creative and unique thing in the world, but its mine.
Well, Here I am claiming to be the proud owner of Hip Haap, still experimenting, understanding and still in the first page of a book, which I’m hoping will become a novel and not a comic strip. To me, it was what they stood for, its purpose and what it meant for their people that attracted me most towards these dance forms. What contemporary dancing did to people was evidently revolutionary, it gave regular people a chance to enjoy the art of dancing, In times when only the best of bodies were allowed to take up dancing seriously. And how the hip hop culture was more of a struggle, a mean to express, a mean to survive, if there was one thing in common between both, it was ‘Hope’.

August 9th, 2010

ನಾಟ್ಯದ ಅವಿಭಾಜ್ಯ ಅಂಗ ಅಭಿನಯ
ಸುಂದರ ಲಯಬದ್ಧವಾದ ಅಭಿನಯ
ನೋಡುಗರೆಲ್ಲ ತನ್ಮಯ
ಜನರಿಂದ ಸಿಗುವುದು ಮಾನ್ಯ
ನಾಟ್ಯದಿಂದ ಮನಸಿದ್ಧಿ ಸಾಧ್ಯ
ನಾಟ್ಯದಿಂದ ಆರೋಗ್ಯ ಕಾಯ
ನಾಟ್ಯವಿಲ್ಲದಿರೆ ಮನವೆಲ್ಲ ಶೂನ್ಯ
ನಾಟ್ಯಕ್ಕಿಂತ ಕಲೆಯಿಲ್ಲ ಅನ್ಯ
ಅಭಿನಯ ಹೇಳಿಕೊಟ್ಟು ನೀವೇ ಅಗ್ರಗಣ್ಯ
ಅದನ್ನು ಕಲಿತ ನಾವೆಲ್ಲರೂ ಧನ್ಯ
ಮನವೆಲ್ಲ ತುಂಬಿದೆ ಇಲ್ಲಿ ಕಳೆದ ಮಾಧುರ್ಯ
ಅದೇ ಗುಂಗಿನಲ್ಲಿ ಹೇಳುವೆವು ನಾವು ಧನ್ಯವಾದದ ವಿದಾಯ

ನಾಟ್ಯದ ಅವಿಭಾಜ್ಯ ಅಂಗವೇ ಅಭಿನಯ. ಈ ಅಭಿನಯದಿಂದ ಪ್ರೇಕ್ಷಕರನ್ನು ತನ್ಮಯಗೊಳಿಸಿ ಅದರಿಂದ ಮಾನ್ಯತೆ ಪಡೆದು ಅದರಿಂದ ಸಿಗುವ ಧನ್ಯತಾ ಮನೋಭಾವ - ಇದು ಕಲಾವಿದನಿಂದ ಮಾತ್ರ ಸಾಧ್ಯ. ಅಂತಹ ಪೂಜ್ಯ ಕಲೆಯನ್ನು ನಮಗೆ ಸುಂದರವಾಗಿ ತಿಳಿಸಿಕೊಟ್ಟ ನೀವೇ ಧನ್ಯರು. ನಮ್ಮೆಲ್ಲರ ವಿನಮ್ರತೆಯ ಧನ್ಯವಾದಗಳು.

July 10th, 2010

It seemed like the birds and insects were having a rave party outside, it poured like lord Shiva was dancing in joy! My first night at ‘Shivakumara Ranga Prayoga Shale’- a school which teaches theatre in a village of Chitradurga district, Sanehalli. Lets talk about the day now-I reached Birur and Madhu, the administrator picked me up in the school van, I heard about the many renowned theatre artist’s like Smt.B.Jayashree, Sri Prasanna from Ninasum, Sri K.G.Krishnamurthy, Sri Basavalingiah, artists from N.S.D, visit to the institute –made me a bit nervous! We halted at a nearby village Ajjampura where I had the privilege of meeting an old man Sri.Krishna Murthy, who had been documenting newspaper cuts of theatre from all over the country-he even has won awards for it and people from through out India visit him for references.

Shivkumar Ranga Prayoga Shale is a reputed, residential school, which gets around 50 applicants every year among whom only the best 18-20 are selected. These students are trained in various aspects of theatre like Abhinaya, Aharya, and Western theatre at the end of which they need to give their exam to get a diploma. The school also absorbs the best of these students to create a new play that tours all over the country for a year (Thirugaata).

I met a couple of bright-eyed students when I was sitting in the portico. They looked lithe and strong. I remembered I was told that I could go on the whole day if I wanted to, I wondered “the whole day, how tough are they”???

I was introduced to a set of 20 theatre students mostly in their early 20’s. I began by telling them a bit about the history of contemporary dance. I started with an easy warm up and included some simple rhythm based movements. I soon realised I have to first introduce them to the basics of speed, pointwork and moving with music before I proceed. Didn’t know how time flew by, both our energy levels were rising.

It was mid April, scorchingly hot in Sanehalli and suddenly it began to pour to everyone’s surprise. The place we were rehearsing became wet and away went the electricity. Guess what we did? Instead of stopping work we danced in rain, wow it was so much fun. We danced with sticks which is called Kolata, a traditional folk form of Karnataka. Our folk dances are really a great way of bonding, it would be fun to introduce them in urban discos. We then shifted to one of the classrooms to practice rhythm and footwork in candlelight. As opposed to a regular class-format, I decided to have fun asking the students to stand in a circle with me in the centre turning direction every time to teach.

It stopped pouring and 3-4 students got down to mopping the floor. They took turns in cleaning the studio everyday- a beautiful system which teaches you how important teamwork and dignity of labour in the field of art is!! We programmed some basic beats in the keyboard to practice spins to end the day.

In my spare time, I used to chat with Mr.Nataraj Honnavalli, the principal, a very learned, witty man who loves to crack jokes, we hit it off very well, discussing everything under the sun from politics to art.

As it was raining heavily, we closed all the windows. When I was asleep a little bird, which looked like yellow-throated sparrow, lost its way, got stuck inside the room and was flying frantically. I got up and opened one of the windows to help the bird but couldn’t. After a long time, the bird found its way out, when another bird from outside came and saved it showing the way out. I didn’t know how the sparrow knew it’s friend was stuck inside, I guess some of nature’s most exquisite work is on a miniature scale!!

The next day when they had a kalari session in the morning at the outdoor Greek amphitheatre, I prepared for my next choreography session with them. When I asked them to compose on their own, they came up with some brilliant compositions which I guess even I wouldn’t think of. I think their theatre education has given them a strong sense of blocking. Also did some contact work and each one would try and say, “mam’ mam’ look at me”, imagine a 20 mam’s to attend too, I love their zealous, drives me to teach them more.

We spotted a snake lying next to the door which was chased by the students as though they were chasing a dog!! Everyone is in harmony with nature here, if there is a natural calamity tomorrow these are the people who will survive I guess, ha ha!!

I became one of them, supremely spirited, eager to share my knowledge, woke up early started class at 6.30 am. Many of them were complaining of body pain, price of enthusiasm! Took an easy stretching session to ease their pain. I set their choreography, which Mr. Honnavalli wanted to use for a poem later. I was happy to see how fast they progressed in 3 days. Their sincerity to learn and absorb anything you throw at them is extremely motivational for anyone who works with them. The students used to say I brought rain to Sanehalli and would be beneficial to take me to a desert.

While I was waiting in the bus to Bengaluru, there was a girl who had run away from the house because her father scolded her. The whole village knew who she was and advised her to get off the bus and go back home. This would never happen in a city, where there is so much population and I guess that girl would have been lost forever!!

I went to teach dance in Sanehalli but came back a student with a lot of rich experiences. I think it’s a must for all of us to invest time in our villages, it’s our roots.

June 18th, 2010

TAMASSU..!

“Tamassu is like upholding a mirror for all of us, living in today’s society.It’s a relevant and relatable subject with a powerful message to hand down. It’s a much awaited film for all right reasons.”

TAMASSU EXPERINCE

“It’s an extremely memorable experience”. The entire team comprised of not just seniors but veterans in their respective field. I was lucky to get this project. They worked hand in hand with me to execute my thoughts. From Sreedhar Sir to cinematographer, Suvarna Sir to Art director Shashidar Adappa and finally Shivanna. phew!!!

I met each one of them prior to shooting to  ensure thorough execution of the same. Their expert suggestions not only boosted my confidence but also added more definition and color to my work.

The only familiar thing and my strength was my team of 16 dancers, and my experience in the dance field. I loved the entire shooting experience…so did my team. Every single individual worked hard and hopefully audience also liked the final product. It’s fresh, experimental and contemporary in every bit of it.

TAMASSU HAPPENED

Mayuri updaya-with-her-team-16-dancers
Veena introduced me to Sreedhar Sir. He’s the only reason for me to bag this project and I’ll always be grateful for this opportunity. For him to take a chance on me, a beginner in film field was risky but his faith was undeterred. He guided me throughout…”I need a balance between commercial and artistic language”; “keep your target in mindset etc were his pointers for me.

TAMASSU – “Director – AGNI SREEDHAR WORDS “

mayuri-with-director-agni-shivanna
I still remember the time when our meetings reached a stage of giving up… we’d met to exchange parting notes, shake hands in goodwill and look for working together sometime in future.
My concepts were shot down as too arty, abstract ….when I said I’m not sure if I can do this. Sreedhar sir advised “Mayuri, anyone who has studied till a degree can and should think of reaching out to those without such learning opportunities and educate them. An educated has the ability in him already if he wants to tap into it and reach the uneducated but it can never be other way round… with your learning in dance…its easy. So think new …attempt again.”

It was the final try…when I explained my latest concept, he sat silent for sometime. Then, came a burst of cheer with three most magical words “let’s do it…go ahead start planning” He was really excited. He stood by me in all my research. I asked for meetings with various dept and he made sure I got every bit of co-operation from all. He even came to watch my rehearsals and patted me with a smile. His child like enthusiasm would show when Shivanna had to learn martial art sequences and sword movements. At the same time his participation in it also showed me his in depth knowledge in the subject. I look up to his courage and wish the best for his directorial debut.

TAMMASU – “SHIVANNA THE SOUL”

He’s a fast learner and his experience is evident when he performs with ease whatever movement is given to him/ he’s very humble and loads fun on sets. When I first met him to explain the concept, he was very enthusiastic and supportive of the idea. He said “everyone needs to bring into the industry their individual style and he was happy to welcome this change”. He’s a through professional coming on time to the sets. Also was helping me in keeping the tempo of work high and go fast … [esp. since we were short of time. it really boosted the energy of the whole team]. He’s the soul of the entire song.

Photography: Veena Narasasetty

June 6th, 2010

Making a debut in sandalwood under the Agni Sridhar directorial is what every debutant would dream of.

And sharing screen space with none other than hatrick hero Shivanna (Shivarajkumar) was like an icing on the cake!! Our very own,  Sathya,  shares his experience about his beautiful first venture as an actor in Tamassu.

Sathya starts like this -

My First step in the Film world, my first Kannada movie, Scripted & directed by the man himself Mr. Agni Sridhar sir. Sharing Screen space with the hatrick hero Shivanna…What else can I ask for

Veena (assisting the camera for Tamassu) introduced me to Sridhar sir and he immediately said your right for the terrorist role. He later introduced me to his well-wishers and they said yes he looks like “kasab” (and I took it as a compliment).

My kannada is not that great so we had n number of reading of my lines, but with each day getting close the screws were getting tighter. Acting, dialogues in kannada and against whom..Shivanna, if I goof up it will effect actors around me also. I was told. I have some intense dialogs in the movie and it had to said with the right emotion.

But Sridhar sir was calm, patient and very supportive towards me which I don’t think anybody would do for a new comer like me. If not for my self I wanted to give it more than I have for the faith he showed in me.

Initially my role had just two scenes. Later my role was developed to a few more scenes..a chase, a fight and some dialogs. More than I could ask for.

I normally go to the gym regularly so was fit enough. I had to look trained and fighting fit so had a strict diet without sugar, tea, milk, coffee etc. only boiled vegetables, protein shakes, eggs etc.

My first shot was the torture scene in the jail and I was to be in my briefs. I was told by my gym Instructor to stop drinking water two days before the shoot of the sequence to look more toned up. Which I did

The day was fine but was tough in the night my mouth use to get dry and I use to carve for water

Day one passed and then another.

Went to the sets of the film and was told my shot will be the next day. I stayed back at the sets to watch the shooting, I saw everybody having tea, coffee, coconut water or just plain water. and my mouth use to drool… I started dreaming about ice cold chilled water bottles around me. My throat felt like dry well not seen water for ages.

All I did was, just close my eyes and looked the other way, then went to the gym to workout. And that very day a friend of mine invited me to a barbecue party. As I ate two pieces of chicken my mouth got even drier. My instructor told me if needed I can have a small sip of water, but I chose not to. My friends kept telling me its fine to drink a little water. But I refused. No one asked me or forced me to do this but I wanted to give my best shot.

That night I dream of water all around me, I had a bottle of cold water in my hands but could not open it. I woke up,licked my lips wet and slept again.

Next day went to the sets and was told my shot will be just before lunch, then after lunch. All I did was to concentrate.

Finally my shot was at 4 O’ clock. Nervous but focused. The wait was over. Shivanna was so very supportive and so was Sridhar sir. And I believe everyone liked the shot. The shot got over at 6 and I sat down on a chair smiling to my self, relieved and happy about the shot. And a bottle of water was handed over to me after 88 long hours.

I was still holding my self from drinking the chilled cool water. I asked everybody, making sure if I had any more bare chested shots. Then when it was clear that my shots was done, I opened the bottle and gulped down the full one liter with in seconds…then there was life.

Who ever said acting was all fun and easy???

I’m not complaining… it was worth all the effort for me. It was my experience which I wanted to share with all of you. Now I want all of you to watch the movie in a theatre and share your thoughts about the movie.Tamassu hits the movie hall very soon..!

May 27th, 2010

There is always something that you want to do and you have to do. And at one point, you choose one over the other.. obviously compromising on what you’ve always wanted to do having no strong reason, probably it was just more convenient to do so.
But what if you never have to choose!

Thanks to Nritarutya, I have never had to choose between anything. It has just helped me grow more passionate ’bout dance. Who said professional dancing is not for part timers?? All you need is interest and dedication and they take care of the rest. It really amazes me the kinda interest and effort the company takes in each one of the dancers they pick. They call it an investment . I would like to add the adverb ’selfless’ to it.

Professionalism is embedded in everything done.When you are wrong, its communicated to you and when you have been good, that’s communicated to you as well and what remains unchanged is the sophistication.If you wanna fool around, this is not the place but on the other hand If you want to grow , they help you grow.

I have always been in awe for this company and now I am a part of it and its too good a feeling to express!!Its been almost two years of association with them now and I cherish every session and every show.

We,I mean the youth wing of NR are having our showcase this Friday and am super kicked bout it..!!Not that we haven’t performed earlier but this is OUR showcase .. or you can call it as the ‘ranga pravesham’ of the youth wing of nritarutya And hopefully, its gonna be the most happening show ever !!!!

May 20th, 2010

The music CD has just slipped and is repeating a track on its own or just goes ‘kapoot’…
‘1 – 2 -3 -THUD- the side wing has just fallen on the very spot you were just 2 seconds ago..
Ouch!! A nail has just pierced even through the seasoned skin of the feet…
How am I supposed to get off stage when there are no steps?????
Oh –oh my pants have a rip in them, now what?

Hmmm.. you must be wondering what am I talking about. These are just a few glimpses of what can happen to a dancer when on stage, giving a performance. Most often than not, artistes’ needs are given last priority when it comes to building a set-up for any performance.

Performance – the most intoxicating, high- spirited happening in any artistes’ life. Every performance- what we call a show, holds a special place, a time that is irreversible. And still, we do not go about checking the little important things that matter to one as a dancer and performer.

With what the dancer has to cope for the dances itself – the steps, the positions and rehearsals, I know with experience that ‘show management’ in itself is a huge area which we dancers have to be equally skilled to handle to be a better performer.

A dancer- whether in a team or pursuing dance career individually, must equip themselves with knowledge on how to manage the process to better their performance and presentation.

In my familiarity of handling the production aspects of shows for my company, I know it is very important for a dancer to concentrate on giving that perfect performance. But how will one do it if the mind is cluttered with things have not been organized??
For this, I have a simple mantra – a check list that helps me tick my teams’ needs for any showcase, so I can assure that my teammates and I can perform peacefully thinking only of the dance and nothing else.
Even before the actual list, the most important must check would be to obtain a letter of confirmation for the performance which explains the date, venue, duration, the necessary legal obligations and consent to provide with specified requirements. This is most crucial as it acts as proof of agreed terms should any dispute arise during the process or after the performance.

It is equally important how we communicate with the organizers to get our needs to be met. A smile on your lips and pep in your voice would be a good start.
I’ve also noticed that communicating freely and clearly help a lot in smooth process of the show. As they say, too many cooks spoil the broth- it is advisable to keep your instructions on your needs clear, short, to the point and made to ONE person who is in contact for the event.

At any stage, it would be wise to have all communication through mails and wherever possible a written document – to go back and check on what has been told and compare it to what has actually been done.

Following which, my basic check list would have the following things:
- Rehearsal schedule (what to present and how) – Once we have a confirmation of the performance, the company accommodates the rehearsal schedule for the sequences to be presented. This is a priority before a show and it requires preparation – probably the one part which we can assure to be ‘perfect’.
- The technicals (lights, stage and sound) – The next step is to obtain information on the stage size, the flooring and the design of the stage. Get to know the production team in charge to discuss what is available and obtain details of the set-up.
This helps in determining the presentation to a great extent. It helps the company to gauge how many dancers can be included in the presentation and modify it accordingly.
Any performance is incomplete without the magic of lights; the next step therefore would be to get information on lights that the event is equipped with. Based on which suggest additional lights that is specifically required for the showcase and then work up a rig.
Ensure transparency of all communications with the production team to the organizer. Having mails sent on what has been decided also helps.
Pre-show (costumes, music, credits) – A thorough check on the costumes and accessories is needed for the presentation. A reminder for the dancers to carry their respective gears before a performance is sure a big check. We surely don’t want a wardrobe malfunction right in the middle of a performance and nor would we like compromising that arises of a bad memory now, do we? I strongly recommend carrying a sewing kit too!!
A check on the music required for the presentation is a must too. Carry the required music in adaptable formats (that plays in all systems, computers or any device that is used for the event).
Another important matter to be considered is the credits of the company, its choreographers and dancers. No one wants to dance anonymously – even if I say, our work speaks for itself, people should know who we are, where we are from and what our work is about. It is a dancer’s right to be known – don’t you think so?
For which I suggest, get introduced to the MC of the event in prior - go with a few notes and help them to fit it to their script. I make sure it is brief and goes with the flow of the event.
The look needed for the presentation is yet another important tick mark on the list. Carry good make up to enhance the presentation and when slotting time before the performance, keep a good hour to apply it and get ready.
- During the show (console management) – This involves coordination between the dancers and the organizers on the day of the show at the venue. This mainly revolves around getting a tech-run for the presentation – a mock presentation of the show itself complete with lights, sound and repertoire.

While exercising a tech-run, one will need a calm yet convincing approach to get things moving fast, smooth and according to the specified requirement.
This section has its own check list: the number of things that needs to fall in place for the tech run– starting with sorting of lights and dancers positions (yes, this is necessary even if you have a set rig and light designer working for you), the sound level of the monitor, the stage floor being clean and free of sharp objects that may hinder the performance, the exit and entry points, the size and position of green rooms required for changing costumes in between the presentation, things in the green room like chairs, water, mirrors, the music being played right on time –just few of the long list.
At this time, one must be ready to face situations like some of the ones I mentioned in the beginning. Surely, if not to our dancers’ excellence presence of mind, we would be facing a decreasing number of the already depleting number of dancers in the city!
I also insist on volunteers and helpers during the tech run and performance, who will be available to aid in getting simple things done like cleaning the stage, getting water and refreshments, cue entries, etc.
There may be a long waiting period post the tech-run and before the actual performance. Dancers will need refreshments to recuperate – opt for healthy, simple, OIL-FREE snacks along with some warm beverage to get that required strength without feeling too full to perform. Keeping the organizers informed of what can be served beforehand will be useful.
- Post show– We are just off stage after delivering that near perfect ‘show’ but the story doesn’t end there!! Every dancer has to pack their respective costumes/gear, collect back the music and thank the crew.
I also think carrying a few visiting cards will help – you never know who you will meet for your next collaboration/performance.
- BACK UP – it is very vital to have back up for every aspect. Main check for this would be back up music cd’s. Have atleast 2 -3 Cd’s of the repertoire handy to avoid track slipping/not playing sort of issues.
Back up costumes is also a good foresight, in case of forgotten costumes or tear/rip that cannot be repaired right then or even if there is an alternate sequence that has to be performed.
Medicines – carrying a supply of basic medicines is needed too. Pain killers, band aids, electoral fluids and probably sprays would constitute a good kit.

Of course, there are several unforeseen - very last minute- factors that will arise to put one in enough panic to turn the world upside down. But what really works here is a calm mind and quick thinking of an alternative to the situation. Back-ups help you to a great extent at this time.
Well, this is by no mean an exhaustive list – the list may differ from one performance to the other or even dancer to dancer. You can with this aim for a near perfect show.
Mind you, I am deliberately saying Near Perfect as no show can be a perfect one – there are a million ‘force majeure’ like factors that will glitch, if not the performance, at least the process.
There is no sure escape route to a perfect show- but hey, you are a dancer remember – pull up the spine, take a deep breath, put that chest out, focus and…. SMILE. The process too is like a performance – just enjoy it.

May 6th, 2010

It has always been a wonderful experience to shoot movement and more over to showcase motion in a single frame. For me it was so exciting to capture various compositions and the lighting adding up to the frame. The utilization of space and mixture of dance gestures were just brilliant. Their immense dedication and passion made me magnetized; their movements were so rapid that it was a challenge for me to capture it. I struggled a lot to get a composition in which Rohan and Vishwa are flying literally, and somehow was successful in doing it.

For me, i relate to shapes, forms and patterns more than scenic beauty in a single frame. While shooting, I always saw these dance movements as patterns and moving forms, and to visualize the entire aura through the viewfinder was just truly amazing.

I have always enjoyed tagging along with the team, and I must say I really enjoyed being around with them in Auroville. Altogether, it was an unforgettable experience traveling with the team of Nritarutya to Auroville.

April 27th, 2010

Weekends, party, aaram are all synonymous terms, aren’t they?
Hmm but last month, its weekends, was a little different for us here at Nritarutya. The entire team traveled to perform at two very famous venues.
Even with its radically different environments they equally had a supportive climate for art and dance.

Spaces, their cultures and the conversations with audiences are like the rewards and the reasons….

Wisdom tree

At FTII [marking their 50th year celebration], history and heritage of film making continue living. Actors, directors technicians ..over the years, they unwrap guild of artistses. Mundane arrangements, formality, programmed minds make way for bold artistic choices.
At Auroville, there is the right recipe for harmonious integration. Mix of cultural roots of people exerts an influence on its peaceful co-existence. The energy is pure and revitalizing.

Body finds different connection to the spaces around it-

While we got a beautiful auditorium-Bharatinivas to perform in, otherwise green nature filled Auroville, in FTII, it was open air; the entire stage was constructed around the significant Shantaram pond -where scenes of Navrang’s Holi dance/Kaminey’s shaadi song were also shot

And its audiences: Our representation of dance ideas to respective audience…exposed existence of diff types of dance culture and taste of dance audience. Though both had high artistic quotients..their reception of dance and its enjoyment was evidently diverse. From respectful silence as appreciation at Auroville to youthful cheers and tweets at FTII…we loved them all.

When you make a dance, it’s basically about engaging with other human beings …Touring around Auroville, learning about the simple philosophy of life, engaged every bit of me from within and to its surrounding. The essence of Aurobindo and Mataji still breathes in every living tree, especially their Matri Mandir…its to experience!!

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with legendary Indonesian Choreographer-Sardona.W.Kusumo [center

Riju and Naveen Padmanabh-our organisers

Ranga,Kritika,Chakravarthy, Santa-our students' team