Posts Tagged ‘Nritarutya Dancers’

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’.

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.

February 12th, 2010

I have been dancing since I was 12 yrs old. Lucky enough for me I have always danced for an audience, at small gatherings and family get together’. My siblings, friends, cousins, would put music on and ask me to dance. It was on one of the most popular songs of the movie, Kadalam, ‘Urvashi Urvashi…’ . This was my first dance inspiration and first dance ever.

Gradually I started with performing at school.Once I vividly  remember  dancing as a hero in an Adivasi dance, others around me were dressed in leaves!Also danced for a piece as an invisible man, another time acted as a chair- prop!

My holidays meant me working at an Agarbatti factory and sometimes visit my grandmother. Close to her house was Vijaya Film Institute and there would be people practicing dance, and I would go and watch them all the time. While on School trips, I would be made to dance on the bus too, all the encouragement always got to me. Later, we shifted to the city, this gave me good opportunity to go and visit dance classes, I would go there daily after school. Since I wasn’t allowed inside, I would stand at the window and watch, make friends with dancers.

Luckily the Dance master saw me and asked me to assist them for a show once, and there it started, I would go and assist the dancers for their shows, even when they didn’t call. Once the dance master used me as a prop, I was asked to stand for 20 seconds on the stage and exit.

It was a break for me, I started with another show, which was a competition at Yelahanka, Snehitara koota, my happiness knew no bounds when we were  put in the front row to dance, but only later we realized our hands and faces were to be covered, we couldn’t even see. But we won, we managed the consolation prize.

I soon quit because of certain issues. There were some more to  combat,my family wasn’t happy, and so they wouldn’t allow me to join classes or help me monetarily, but my passion took over and I continued, as I was soon offered to dance with other classes. Here, they persuaded me to even dance and practice. Two of my seniors worked with me on my flexibility and warm ups, Raghu and Naveen helped me learn dance sequences and perform them. We did more than 400 stage programmes with them. During these times, it used to get  late for us to get back and we would actually end up walking  five kilometers back home.

Too many violations and we left as a group for good. Sai Arts International happened soon after that, since they were short of people we would join them f or many collaborations and shows. I remember once wearing elaborate costumes for a Bharatnatyam dance drama collaboration, under this banner. I started conducting classes for them, they had two branches, and would have to travel around 250 kilometers to Dhavangere, twice a week for the same.

At one class, while rehearsing the front flip I lost balance, fell down and got a lower back hair line injury. This was grave, very seriously injured, I couldn’t move my body at all, and hence had to give up dancing for more than a year. I did resume back, as a freelance dancer for stage shows.

Meanwhile Rohan, called me in for auditions with Nritarutya. I was acquainted with their work since I had seen couple of their shows. I got through the auditions and my term with Indian Contemporary dance saw its dawn. Initially worked part time with the team for I was still working with Tata Indicom, my term with them ended and I joined here full time.

It became a new experience for me to live,”different”. I was a Full time dancer. I dance now to my heart’s content, grow and learn every single moment to the fullest. Having done shows and choreographies and traveling with Nritarutya, to Dubai and Pakistan world performing arts festival, it has been an experience to live for ages.
In my family no one likes dancing … they feel there is no life in this.

To me it doesn’t matter if there is a future as bright as others in it, to me when one is dancing, he should be ready for both success and failure, what counts is commitment to the work, change is a persistent factor. Challenges are to be faced any way, you win some and lose some, but doesn’t mean that you don’t pursue them at all! I will and hence I have pursued dance here, for I am committed and shall always be to whatever I do, for now its Dance!