Thursday November 23, 2017
Home Indian Diaspora Mother-daught...

Mother-daughters trio give Bharatnatyam global audience

0
90
Ranee, Ashwini and Aparna Ramaswamy dance in a Ragamala Dance Company production (source: news.psu.edu)

Minneapolis-based Ranee Ramaswamy, along with her daughters, Aparna and Ashwini, has been performing uniquely-choreographed Bharatnatyam shows for nearly 30 years in front of a mostly Western audience.

Ramaswamy, who was born in Kerala and raised in Chennai, started to learn Bharatnatyam since she was a child. However, she met her master and spiritual guru many years later in Minneapolis, in 1983. Padma Bhushan Alarmel Valli taught Ramaswamy and her daughters the intricacies of the dance form along with its various interpretations.

Now, the trio performs and promotes the dance form all around the world. They have their own dance academy as well, named ‘Ragamala’. It is not just a “women-owned non-profit, growing partnership”, but according to Ramaswamy, is a “transformative academy which demystifies Indian dance, philosophy, art, symbolism and ethos in a culturally rich and living form.”

US President Barack Obama appointed Ramaswamy as a member of the National Council on Arts by in 2013. The next year, she was presented with the Doris Duke Performing Artist Award.

source: startribune.com
source: startribune.com

Aparna, Ramaswamy’s elder daughter, and also the more experienced, has several solo performances to her name, along with the performances with her mother in various countries, including the US, India, UK, UAE, Japan and Indonesia.

Among the renowned places where they held shows, are the Lincoln Centre in New York; the Kennedy Center in Washington, DC; the Music Center in Los Angeles, and the Museum of Contemporary Art in Chicago.

Aparna recently performed her latest solo piece, ‘They Rose at Dawn’, at New York’s Joyce Theater. She is a member on the Board of Trustees of Dance in the US, and also serves as a panel member with the Indian Council for Cultural Relations.

Aparna’s passion for Bharatnatyam stems from the “challenge of developing and transforming the 2000-year-old art in a science of intricate movements to make it engaging and meaningful for the contemporary audience.”

“Bharatnatyam is interdisciplinary and holistic experience combining music, mythology, poetry, and history,” she said.

Ashwini, Aparna’s younger sister looks after the financial side of Ragamala. She promotes the dance form, and takes care of the public relations and funding opportunities.

“I like to combine language, art, emotions, rhythm, and music in the performances,” said Ashwini, who also performs solo apart from the performances with her mother and sister.

The Ramaswamys are among the few who are promoting the 2000-year-old Indian dance form on the other side of their globe. Not only are they redefining the traditional art form but also giving it a contemporary touch which would help it reach the global audience much more effectively.

Next Story

Ramli Ibrahim: A Malaysian steeped in Indian classical dances

GANJAM, Sutra's newest Odissi production, stired by powerful folk dances and music traditions of the culture-rich Ganjam district of South Odisha

0
1013
Ganjam
Datuk Ramli Ibrahim via- kln.gov.my

By Yajush Gupta


“It was always there in me. Even as a 3-year-old, I used to like to dance. I used to dance in the fields instead of walking..it was innate in me”

His latest choreographic work “Ganjam” staged recently in New Delhi advocating his Guru Deba Prasad Dais’s Tridhara, union of the three dance streams, showcasing the contemporary and novelty of the much aged tradition.

Malaysian dancer Datuk Ramli Ibrahim, 62,has famously been alluring audiences with his performances and choreography of various Indian traditional dances for more than
three decades now. He has gone on to perform and win awards both locally and
overseas, and has also groomed many a talented dancer.

A cultural icon and a dynamic force in Malaysian playhouse, he is trained in both Indian classical dance and modern dance styles. In Malaysia, Ramli is hailed as a pioneer dancer and choreographer of international footing in numerous dance forms namely – Bharatanatyam, Odissi as well as Contemporary Dance.

 Tridhara is the union of the three dance streams, namely, tribal, folk and classical.Produced more than 40 original dance repertoires in the traditional and contemporary idioms. For Ramli, theatre is the all-obsessing instrument for his creative vision.

oddisi -via flickr
Odissi
-via flickr
  • Born into a liberal muslim family, Ramli Ibrahim’s father was a teacher. His Mother Kamariah was secretary of United Malays National Organisation .He went to the University of Western Australia in Perth to be a mechanical engineer and pursue dance alongside my academic activities.
  • Ramli learnt Malay folk dances and ballet and has performed with the Sydney Dance Company in Australia, New York, London and Europe.
  • He joined the Australian Ballet School in Melbourne and took rigorous ballet training, before taking on Bharatnatium in various forms.It was then that he mastered the art of Bharatanatyam from Adyar K Lakshman in chennai, and used to perform Indian classical dance under the name of Ramachandra
  • From 1980 onward, he started to perform in chennai. At that time from London Kamadev was sent to study Bharatanatyam by Ram Gopal, Radha Anjali from Vienna was also studying under Adyar Lakshman. Swapnasundari was also taking lessons in Bharatanatyam and regularly started to performed in Chennai at major Sabhas, and at Kalakshetra.
  • Unfortunately, despite being raised into a multi cultural society,Ramli Ibrahim faced a lot of critisism from various religious groups. He was the  Muslim who performed Hindu dance form while taking on the traditional dance of India. Although Malasyan society did not object to the cultural expressions of Indian Diaspora , also the fact that  not many chose to go to the theater in Malaysia and this was the reason that the Malaysian audiences loved his performances. Ibrahim envisions unity within the diversity of all of Sutra’s artistic endeavors. Perhaps this is not surprising, given that although Islam is currently the state religion, historically Malaysia has honored cultural ties with Buddhist, Christian, Persian, Hindu, and other cultures.

“But I stood my ground. I argued that the Malaysian constitution and policies did not object to Indian Diaspora’s dances.

                                      -in an interview with The Hindu
  • His attraction towards Odissi as against the structured, too steeped in tradition Bharatanatyam prompted him to  go to Puri and learn from a disciple of Guru Deba Prasad Das.In London when performing Nijinsky’s role in Poppy ballet,he had invited Ram Gopal who  performed before Nijinsky. He loved Ramli Ibrahims dancing and immediately introduced him to Indrani in Delhi.But he soon found that he wasn’t learning what he wanted to and became a direct student of Guru Deba Prasad Das
  • The intense guru-shishya relationship that Gajendra Kumar Panda had with Guru Deba Prasad Das inspired him to write ‘Adorations’ which culminated in many performances.

Indian Government has honoured Ramli Ibrahim with Sangeet Natak Akademi award for my contribution to Odissi.He has also been awarded Datukship, which is similar to Padma Awards in India.

In an interview with the Narthaki magazine, when asked, about his views on guruship, he replied:

“I don’t like people diving at my feet! Whatever you do, you must start with a pure inner heart, not just an outward ritualistic show. When it comes to a performance or class, if they don’t come up to expectations or make me wait, they get hell from me. That’s the guru in me. If you do not have respect for your art or for your parents’ money, why are you wasting my time and yours? That’s why we have performed very few arangetrams. We do not recommend arangetrams unless the student is serious about making dance a very important part of his / her life. Otherwise, it has no relevance. For a lot of students, arangetram is the beginning of an end. Most of them start a kitchen class. Too many mediocre teachers and dancers around. Over popularizing Bharatanatyam has resulted in this.”

Yajush is studying journalism in New Delhi. Twitter :@yajush_gupta

Next Story

Khajuraho Dance Festival 2016 promotes classical dances, enthralls audience

0
264
Image source: blog.coxandkings.com

Chattarpur, MP: Methil Devika, a Mohiniyattam exponent currently performing at the 42nd edition of Khajuraho dance festival in Madhya Pradesh takes it as a dream come true to perform with so much divine energy of Khajuraho. She is so overwhelmed by the experience.

“While performing, I experienced potent divine energy here,” said Devika.

The Khajuraho festival, held on February 20-26, was organized by Madhya Pradesh culture department to brought together some of the prominent artists of classical dance form like Bharatnatyam, Kathak, Kuchipudi and Odissi.

Devika, who is the winner of Ustad Bismillah Khan Yuva Puraskar, Devadasi National Award and Kerala Sangeeta Nataka Akademi award, attract the audience with her exceptional dance steps on Mohiniyattam.

She felt so blessed to perform in front of the Vishwanatha Temple devoted to Lord Shiva and Chitragupta Temple devoted to Surya, the Hindu sun god.

“If earlier, Khajuraho was all about splendour, dance, and publicity, now I see it in a different light. One has to be blessed to perform here. The energy is tremendous,” said Devika, who is also trained in Bharatanatyam and Kuchipudi.

According to her, Khajuraho has an important role in promoting classical dances.

“Khajuraho is on the top of the list of every artist. When Khajuraho gives you the chance, you know that you are there. There are very few stages in India which are as significant as this. The festival not only promotes the venue but also inculcates a desire amongst dancers to vie for excellence,” she said.

Devika used different and new styles in her 40 minutes performance which was a totally a special experience for the viewers. She brings a new connotation Mohiniyattam, which means “dance of the enchantress” and uses “lasya” as its major move. She is in the mission to redefine the concept of lasya.

“As a dancer, I believe that one needs to revive the art form. One should explore further within the grammar. For me, lasya only means a solo art form, an art form which can tell the stories of love. I want to define enchantment as the enchantment of one’s own soul,” she said.

Devika started her performance with a devotional part on Shivshakti from Soundarya Lahri. She continued with padam composed by Swati Tirunal showing the unconsummated love of the nayika on the description of her Lord Vishnu and the roudram in her tribute to goddess Mahakali or Tandav by Lord Shiva. Devika’s variation from the typical style was an exciting experience for the audience.

“For me, it is all about exploring the potential of an art form. I find Mahakali enchanting because she has the power to destroy the evil,” said Devika adding that art has to benefit society.

She believes in raising the masses whether it’s contemporary or folk dance.

The dance research scholar said, “Contemporary dance means taking a dance back to the roots. If I learn martial art tomorrow, I can do contemporary Mohiniyattam. It’s all about tapping the potential of an art form to heal or inducing a style.’’ (IANS)