Posts Tagged ‘Add new tag’

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.

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 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.

April 10th, 2010

As promised…we continue to fill in more on the fitness/diet for dancers…read on

The diet of a dancer ideally must consist of about 55-60% carbohydrate, 12-15% protein, and 20-30% fat. During weighty working out and rehearsals the amount of carbohydrate should be augmented to about 65%. The reason is that carbohydrate in the major energy source in muscles. Ingested carbohydrate is broken down into simple sugars (glucose) in the digestive tract then stored in muscle in the form of glycogen, the primary fuel for energy production. Dancers who do not ingest sufficient carbohydrate in their diet will compromise their ability to train because of low muscle glycogen levels. They may feel more fatigued during classes and rehearsals.

To achieve a high carbohydrate diet, food choices should be complex carbohydrate (bagels, cereal, bread, English muffins, pasta, rice) rather than simple sugars, because complex carbohydrate has many micro nutrients associated with it (nutrient dense) while simple sugars are nutrient poor. The estimated carbohydrate need is 6-10 grams of carbohydrate per kilogram of body weight.

In addition to meals, other times when carbohydrate ingestion is important are before, during, and after class, rehearsal, or performance. About 1-2 hours prior to these activities, a small carbohydrate snack should be consumed.

This will increase glucose levels in the circulation and “top-off” muscle glycogen stores. A carbohydrate snack, such as a bagel or commercially available “energy” bars, can provide the added boost needed for optimal performance. During long rehearsals it is also important to ingest some carbohydrate to maintain circulating levels of glucose to prevent fatigue. A good way to ingest this carbohydrate is in solution such as sports drinks that are specially formulated to contain the right amount of carbohydrate (6-8% glucose) to empty from the stomach quickly. Ingesting carbohydrate in a solution provides the added benefit of fluid replacement. After a period of dancing, the muscles require an adequate supply of carbohydrate to replenish the muscle glycogen stores. Because the fastest rate of glycogen re-synthesis occurs in the 2 hours following exercise, it is important to ingest carbohydrate as soon as possible after a long or strenuous exercise period to refill muscle stores and be ready for the next activity.

March 30th, 2010

I remember feeling excited and nervous, earnest and apprehensive hesitant and confident all at the same time as I entered Kalari Institute of performing arts, the venue of Nritarutya’s dance class for the very first time. As I entered the hall, I was genuinely surprised to be greeted by the sight of a jolly bunch of people in tracks laughing their head of at….. Well, I never found out what! I’d expected to see a grim gathering of austere people rehearsing their steps showing no signs of wanting to commune with a new addition to their passionate species. Well that was exactly what didn’t happen. Everybody in the room called out in excitement and greeted with: ‘hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii’ and: ‘are you neeew???’

Just then, as I was starting to repudiate my hasty judgment on the place the  smart trainer in sleeveless and tracks walked in and said “UP! now I am going to try very hard to kill all of you” if it wouldn’t have been for that ever so friendly smile on his face after the dark statement, who knows, I might have run out of the place at record speed. And the class started, we warmed up, learnt a new sequence, practiced it, warmed down and wrapped up.
An hour up….sigh… already?

It was either that the universe conspired against me and on that day was just set to prove me wrong on every way OR I got so engrossed in the magic of that place, the grace of a pointed toe, the strength of a Kalari kick, the perfection embodied in a plie, the ocean of theory behind the movement of every single muscle that I never stopped to notice that I had finally made one of the better decisions in my life.

Nritarutya’s classes provide a forum to the earnest learner of dance to discover his talent and a platform to bond with the ever elusive right techniques and information. Basically, one is sculpted, his movement refined, his knowledge on the subject rarefied and his entity poised to enter that magnanimous world called the stage.

Each class with a few rare exceptions, (where we take time out to have fun but with dance and exercise of course) begins with a warm up, several warm ups actually! These are the kind that push one’s physical endurance beyond his maximum limit, and that’s the only way to grow, says Vishwa, our trainer. but the really scary part is when Vishwa’s in the right mood to put us all through an extra dose of extra toughened extrovert exercises to give us that extra edge.(forgive me for my love of alliterations!) well, everything will go ok as long as, we all think to ourselves…. come on we can do it! Push a little harder, try a little more, kick a little higher (higher than your neighbor at least!) but the real effect of Vishwa’s foresighted spell unfolds on the next day when the strenuous session takes its toll on the body inlump sum! But these are designed to condition the body to administer spectacular moves when demanded and to adhere to the understanding of the working of one’s body and the co ordination of the body and the mind.

Well, that takes a major part of the class as it is, but we still manage to learn a few well crafted and strategic steps in the form of sequences tabulated into bars of 8. Skill, precision, control, concentration, strength, stamina, clarity, perfection and a lot more goes into the understanding and execution of every step so you can’t help but call it strategic. Every class, the previous sequence is carried on by adding dimensions, creating spatial beauty, embodying the rhythm of the movement and music, texturing the strata of the steps, adding various parallels to the movement by imbibing an element of thought based dance.

All this in the short span of an hour which at the same time seems like an era and a indefinite moment, which is the way it should be perceived by an ardent lover and student of dance. A quick note on the styles of the various teachers we had till date, all of them have their own individuality in the same plane of our concentric syllabus, it’s like all of them represent parallel congeniality… whatever that means!

Madhuri’s warm ups are very deceptive as they are the classic case of wrong perception, to feel and look at, her movements seem light and easy but once she’s got you in the position she wants,she can snareyou with a quick “put your heel on the floor” or something of the sort, her exercises are designed to condition the body and demand long term dedication from the performer, her sequences have been based on the lines of yoga, kathak and pure energy incorporated with the beautiful control of the movement.

Sathya’s steps are simple and geometric, but simple is not equal to easy… no that would not be true of the fitness expert of Nritarutya .Would it? His depiction of the movement is artistically and scientifically justified to the needs of a dancer’s muscle network, he wipes out fatigue as if they were Jews and he was Hitler. Ok bad example!

Vishwa’s class somehow resembles a human anatomy class with all the information about our bodies and muscles being provided! Vishwa’s warm ups and choreography tend to have elements of martial art in them, be it kick boxing or Kalaripayattu. His steps also makes the body host a plethora of classical movements, sometimes without the knowledge of the dancer himself. He’s like a walking talking nritarutya.com!!

Nritarutya’s dance classes symbolize a torch of realization to the wandering dancer who is yet unenlightened about the……blah blah blah….in simpler and I am sure, in better accepted words, these dance classes rock and are a must to dance lovers and to those who want to make dance an integral part of who they are. (Try not to hit me with shoes and tomatoes)

January 29th, 2010

How important is a breather space to an artiste? Only as essential as inhaling and exhaling oxygen or as exciting work coming one’s way. So, my survival instincts made me think up a few things that would take me away from my dance studio and to re-energize I, me ,myself. As part of my “ I want to do this’ and “that’ list visit n study of festivals is a topper.
Visiting festivals- a must…my recommendation added, to learn, entertain, inspire, and open new windows in our lives. After witnessing “Ananya dance festival” in Delhi Purana Qila..my steps headed to much anticipated ‘ Madras music season”. The approx two month long season, celebrates showcasing a diverse blend of established and promising independent music and dance performance art, culture and community. It draws as its audience artists, scholars, fans, festival directors, organizers, creative minds, young and old from all over the world, to keep the inspiration and imagination alive that the arts provide.
With my eye for the unusual : D…I STILL ended up watching Shabari moksham [@ Kalakshetra’s which btw is most tastefully designed ,latest state of the art auditorium ] Dhananjaya’s team, Priyadarshini Govind, Rama Vaidyanathan, Listened to musical kacheris by Unni Krishnan, T.M Krishna, Hyderabad brothers and participated in several lec dems..For this of course, I jumped sabas[ auditoriums] not to mention my fights with chennai auto drivers.
Art in India, like anywhere else is also passing through a period of transition, searching within itself. But to me the festival re-affirmed that, the classical continues to form the base, and to provide the grounding, from which the innovator can take off.
Keep visiting this link: http://artindia.net/madras09/index.html to see updates, information and schedules of concerts, seminars etc from organizers of Madras Music Season.

January 7th, 2010

It is been nine years now, however long I journey, I realize it’s a new discovery everyday, while I feel it started only in recent times.What began as a hobby and an unwinding exercise caught up with me as I grew up. I would swim, skate, play foot ball, practice Taekwon-Do–thrice a week and dance once a year. Craft making, drawing,writing poetry intrigued me and aroused my attention and I couldn’t help but praise the beautiful things that began to inspire me.

Once Taekwon-Do, became my inspiration I painted on a white cloth in Korean characters, the ‘Tenets’ of Teakwon-Do.

My teacher’s encouragement and appreciation stood by me then on.

My journey in the world of arts had thus begun and I never had to look back.

With the Practice of Taekwon-Do, the martial artist in me grew to understand several nuances of the art. Over a period I understood that martial arts are marked by fluid acrobatic play, feints and extensive use of sweeps, kicks.

Moreover, I realized that it was vital to season one’s body, to prepare the body for other movements, like in case of an attack; you may have to take a punch and not show any signs of pain. Your reflexes are required to develop into responses rather than unsystematic reactions. The combination of attacks and defence makes martial arts contain the perceived ‘fluidity’ and choreography.

Movement Dynamics became a second nature. Nritarutya’s style of contemporary dance, inculcated the use of these dynamics. Hence for me, the way I moved with Nritarutya was not very different.

My first dance with the team was on the theme ‘Kaliyug’, a highly energetic piece. It was similar to practicing a martial art and this was for music.

I loved it and here I am today, dancing my way with the Team.

As one learns a war art form, one learns what patience is…discipline…something about time sense…a sense to deal with people and situations as time progresses. A developed intuition and curiosity into various other art forms remain as the added bonuses.When i applied these martial principles to dance, I understood movement in a very different way. It became a spiritual practice for me like practicing a ‘Tul’ or a pattern. I instantly was engrossed in the music and sometimes would forget where or what I was doing, space or time did not matter to me.

Dance and martial arts together have helped me understand various aspects of other forms of arts, helped me understand other dancers, given me a way to deal with energies, to be friends with space and most importantly, to be responsible. Dance lets me dream and martial art lets me stay in the present.
Sometimes even while it has been a little confusing for me it has let me explore more and more. When you master something and you are performing on stage, you become one with the Dance. You truly begin to respect and love life!
I always had dreamt that I would be on stage – intuition works you see.
It is quite strange how it worked with me.

December 8th, 2009

For most of us, who use English as a language for all communications, IJJODU seemed like an alien word. After many an argument, we finally find that Ijjodu – meaning duality/two, is a film directed by M.S.Sathyu – an eminent filmmaker, and that Nritarutya was to choreograph and dance for the title track.

In the blink of an eye, everything around me seemed to buzz with excitement. “Now, turn your hip a little more”, “hold that pose, now smile”, “where’s the file I saved yesterday?”, ‘you think this shade looks better on the eyes?”, “ I think red is the colour for costumes”, “brighten those eyes- it’s for the camera!!”, “did you get those plaits?”- My routines never got bored ever – research on what costumes to wear, what accessories need to be purchased, what kind of ‘look’ to be presented, amid hectic rehearsals - each shot conceptualized, changed, focused, changed yet again…. It had to be perfect; after all it was our first movie.
The day arrives when my company and I have to travel to the location – the beautiful temple of Lakshminarayana in Belawadi – a village near Hassan. Our schedule for the coming 3 days was to finish the 5 minute title track, covering roughly about 40 shots. But first, I pick up my set of brush and paints, yes paints, to finish up some unfinished leaves and lines on our stark red leotards.

Early next day, I wake up to loud knocks on the door and shouts from the production manager at sharp 4.30am- that’s the way he likes waking his ‘crew’
As we prepare for the first shot, rehearsing the movements, trying different angles with the camera and setting the lights, I am amused to see curious onlookers – who thought we were famous film personalities; few who dared asked us our names and details of the film. I would often look at them and smile only to receive howls of laughter and sniggers in return… Sigh! So much for congeniality.

I would often find myself lost in the depths of this beautiful temple- delicately carved pillars, serene looking courtyards, brilliantly sculpted figures on the walls, above all the jet black idols of the Gods and Goddesses adorned with colourful flowers and the sweet smelling incense giving a heady feeling……

I bring together my concentration to the task at hand - we had to give our best in the hot sun, be it delivering complicated lifts with ease, moving perched on the slippery roof tops/gopuras without looking scared, hanging upside down on narrow stairs, rolling over a hundred marbles and not flinching, hanging from a shaky pipe, spinning plaits wildly without hitting anyone… the list is endless.

The heat of the place added more woes to my tired and tanned body. At times when others were in a shot, I would collapse just about anywhere to catch a siesta.

One has to be innovative instantaneously, what works from the mind’s eye may always not work from the camera. I was curious to know how the shots looked, whether the thought and concept of my choreographer was translated or not.. How did the composition look.. Did I do a good presentation.. Well, I must say I’m quite proud to see the result of this very exciting shoot. What more, the movie has been specially screened at prestigious film festivals like TIFF (Trishur International film festival), OSIANS film festival- Delhi and the PANORAMA-IFFI (International film festival of India)

The shoot has taught me a lot of things, patience being one of the prime most. As I waited for the shots to be set up, positions of lights being changed, shifting spots for better shots, trying out variations of movements, or just waiting for my turn in the shot with the costume and makeup intact, I realise all of them work towards getting the BEST nothing less!! There may be another chance – to go back and re-shoot what didn’t work, but this moment, the feeling of the first shot, the first shout of “action” will never come back… It will forever remain a memory in my mind….

November 26th, 2009

Do look into the painting exhibit @ our shop

Its amazing how painting took over dance and dance took over painting in my life!!! When movement came to a still, the paintbrush danced its way to limelight, again canvas taking over a performance stage!!! Wow, I cant believe how closely both are intertwined in the creative side of my brain making it difficult to separate emotion from art in my heart!

When colours start to dance and body begins to feel it gives rise to a new series of paintings-in my case atleast it has. I finally took one month off to paint without anything planned and with a curiosity to see how it will turn out. I couldn’t believe how your life completely influences your art (that is only if you are genuine and not copying other artists). The outcome was mudras, lines, movement, spontaneity, textures, rasas, ornamentation, fresh colours and a lot of vibrant energy.

I am very happy and will be producing many more paintings before I pick the best 15 or 20 for an exhibition. After practicing for 15 years I now have a body of work I can look at and compare. I know what has led to and inspired what. I most certainly know that this set of paintings will lead me on in my quest of creative work to I don’t know where, but surely some place else/ beautiful place/ where else/ .