CLASSICAL DANCES
KATHAK STYLE: Tarana
KUCHIPUDI STYLE: Kuchipudi Kalapam excerpt
MOHINIATTAM STYLE: Jatiswaram
BHARATANATYAM STYLE: Tiruppugazh & Tillana
ODISSI STYLE: Pallavi
KATHAK STYLE: Thumri
DANCING THROUGH GENERATIONS
"...through the eyes of each generation, we see different sides of India."
-Shruthi Mukund
"All the dancers who performed today are second-generation dancers, maybe even third. So, they all have, for the most part, have immigrant parents and they have learnt this dance form that is also their connection to the culture, the world their parents inhabited before they moved to the US.”
-Shruthi Mukund (Director of Community Engagement, Olney Theater), Moderator
"...embracing dance as second-generation daughter of a dance teacher has been to be involved in the community and to see what others are doing, and to respond to things, and to participate....It’s not something from the past. It’s something that we’re engaging with, that we’re still making, we’re not just keeping alive. We’re in the process, learning every day, seeing people come up with new things within the parameters of what we’ve learned all the time…
-Mishka Mukherji (Odissi Dancer/Instructor, Mayur), Panelist
Kathak Style: Tarana
Tarana is a Hindustani classical musical composition where the words of the ‘bandish’ are replaced by syllables like odhani, deem, derena, yalai; these are important in setting the rhythm, tempo and raga. The choreography incorporates both lyrical grace and rhythmic virtuosity of kathak.
Choreographer: Guru Maneesha Sathe
Performer: Shaalini Desai from Laasya Academy
KATHAK STYLE: TARANA
Performer: Shaalini Desai from Laasya Academy
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MOHINIATTAM STYLE: Jatiswaram
A jatiswaram in Mohiniattam is a gentle series of motions set to sol fa musical syllables. Movements are continuous, flowing, with no pauses. Intentional controlled grace results in the ethereal peaceful atmosphere, which Mohiniattam is best known for. Expressive eyes parallel the gentle moods.
Dancer: Radha Dutta
ODISSI STYLE: Pallavi
Mayur dancers will present Saveri Pallavi, a canonical rhythmic piece that highlights the characteristic torso movements, deliberate postures of hand and arm, and particular footwork patterns of the Odissi style. They begin slowly, expanding on their specific visual motifs and increasing in speed and complexity over their course, evoking the Shringaar rasa, or feelings of love and beauty.
Original Choreography by Late Padmavibhushan Guru Kelucharan Mohapatra.
Group adaptation: Sukanya Mukherji
Mayur Dancers: Arna Banerjee, Srijani Chakraborty, Oishee Sanyal Ghosh, Sofia Jalil, Naina Srivastava, Saili Shinde
ODISSI STYLE:
PALLAVI
Dancers: Arna Banerjee, Srijani Chakraborty, Oishee Sanyal Ghosh, Sofia Jalil, Naina Srivastava, Saili Shinde
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KUCHIPUDI STYLE: Kuchipudi Kalapam excerpt
Bhama Pravesa Daruvu - The scene is set with the entry of Satyabhama the daughter of King Satrajit who boasts of her own countless traits. She is undeniably the favorite wife of Lord Krishna among 16000 gopikas or ardent devotees. She wears a long braid which comes with a bigger story to tell. This rhythmic piece is lyrically rich and penned in Telugu language.
“One day, as I, Satyabhama lay in my chambers, Lord Krishna came, gently woke me, and placed me on his lap. Adorned with gold and jewels, we gazed upon our reflection in the mirror. He asked me, "Satya, are you more beautiful, or am I more beautiful?”
I told him I was more beautiful! Lord Krishna, angered and annoyed got up and left my chambers in a hurry. Since then, Lord Krishna hasn’t visited my chambers. So I have come here searching for him. Oh Krishna, where have you gone? Why have you gone? Krishna?”
Composer: 16th century Siddhendra Yogi
Choreographer: Padmbhushan Guru Vempati Chinna Satyam
Dancer: Sahiti Nadimpalli from Kuchipudi Dance Academy
KUCHIPUDI STYLE:
KUCHIPUDI KALAPAM EXCERPT
Dancer: Sahiti Nadimpalli from Kuchipudi Dance Academy
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KATHAK STYLE: Thumri
Thumri is unique to Kathak. A favorite among courtesans, it was nurtured in Nawab Wajid Ali Shah’s court during 19th century. A variant of thumri also took root further east in the city of Varanasi with focus on the divine - a contrast to its sensuality in North India. In this Thumri, naughty Krishna keeps breaking Radha’s pot, and as she pleads, and fights with him to stop, he finds new ways to tease or prank Radha. Ultimately Radha is happy that Krishna chose her to play pranks on.
Writer: Bindadin Maharaj
Singer: Meghana Sahastrabudhhe
Dancer: Shaalini Desai from Laasya Academy
KATHAK STYLE:
THUMRI
Dancer: Shaalini Desai from Lasya Dance Academy
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BHARATANATYAM STYLE: Tiruppugazh & Tillana
A brisk prayer on Lord Muruga that glorifies his appearance, attributes, and accomplishments in battle will be followed by a group vibrant rhythmic piece, showcasing a variety of pure dance steps and graceful movements of the peacock, which is Muruga’s traveling companion.
Composers: Arunagirinathar and Jayamangala Krishnamani
Choreographer: Shobha Subramanian
Solo Dancer: Aishwarya Subramanian
Jayamangala Ensemble: Meera Raja, Geetika Reichmann, Akshaya Anand, Sejal Sinha, Jasmine Joseph
