tag:blogger.com,1999:blog-72747823437020813732024-03-05T10:50:43.878-08:00The A ListAnitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-7274782343702081373.post-39468094169780792272015-09-27T04:49:00.000-07:002015-09-27T04:49:46.169-07:00NEO MARGAM<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_llTNB9GqPy8rv_G0CCyzAHDEvvmgZnli5Go-zQ614Z9OsufawfhUim20C7kcxEuz091h-VEv3Vu8ueuWXMQVwTrPtvDjN5x10Zqx8zEnBujrJ786rXybvlXZeLoeSONA0z0jga7k48/s1600/Final+Logo+-+JPEG-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_llTNB9GqPy8rv_G0CCyzAHDEvvmgZnli5Go-zQ614Z9OsufawfhUim20C7kcxEuz091h-VEv3Vu8ueuWXMQVwTrPtvDjN5x10Zqx8zEnBujrJ786rXybvlXZeLoeSONA0z0jga7k48/s320/Final+Logo+-+JPEG-01.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="Body" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNnLwMml1K3B90BprSf8Vescxg-WYoA-grHHxkTPMbzz4XTkxvU-tEp4Kooc7jmkw8Wk_jrsqST9ZGAcFt41In87XnRXsmryob2dflt0QjTzz_o0L7KA2W4FqF87mEw26FooxaWca6y0/s1600/20150913_120048.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNnLwMml1K3B90BprSf8Vescxg-WYoA-grHHxkTPMbzz4XTkxvU-tEp4Kooc7jmkw8Wk_jrsqST9ZGAcFt41In87XnRXsmryob2dflt0QjTzz_o0L7KA2W4FqF87mEw26FooxaWca6y0/s400/20150913_120048.jpg" width="225" /></a></div>
<br /></div>
<div class="Body" style="text-align: center;">
<br /></div>
<div class="Body" style="text-align: center;">
NEO MARGAM<o:p></o:p></div>
<div class="Body" style="text-align: center;">
A fresh look at Bharatanatyam with a Tamil-Malay accent<o:p></o:p></div>
<div class="Body" style="text-align: center;">
DBKL auditorium, Kuala Lumpure<o:p></o:p></div>
<div class="Body" style="text-align: center;">
September 18, 2015<o:p></o:p></div>
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>23</o:Words>
<o:Characters>136</o:Characters>
<o:Company>PROPEL</o:Company>
<o:Lines>1</o:Lines>
<o:Paragraphs>1</o:Paragraphs>
<o:CharactersWithSpaces>158</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
border:none;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="Body" style="text-align: center;">
DIVERCITY KL International Arts Festival<o:p></o:p></div>
<div class="Body" style="text-align: center;">
<br /></div>
<div class="Body" style="text-align: center;">
<br /></div>
<div class="Body" style="text-align: justify;">
Titles become indicative and
sometimes, problematic. They can either ensnare you in its entrails or push you
to un peel the layers of its meaning. In Bharatanatyam, the word MARGAM has
become flogged once too often. Used as a marker for the traditional, the
classical, the often taught, the much trodden "path" has been
mangled, manipulated and maligned over the past 50 years. Many have tried to
"reinvent" the 'margam'. Most have failed.</div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
So when talented and charismatic
dancer Shankar Kandasamy of Malaysia announced his evening length venture NEO
MARGAM for the DIVERCITY Kuala Lumpur Arts Festival, I had my doubts.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
After all, Shankar, along with his
colleague at Temple of Fine Arts (TFA) had already NEO-ed the margam 18 years
ago when they created HAMSAGATI, an intelligent morphing of the Alaruppu and
Jatiswaram template. With beautifully dancers trained in Bharatanatyam,
Odissi, Kathak and contemporary technique, they are like malleable clay and a
choreographer's dream.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQSunJ4ZtWBpZ2A1QQwl7nhjEY9mLSlcL3ZFV8YJ0oDuhGLF0kjHGYvuaBEw312LND1txnLTdQozmUGbGcFv-umvnAgvpcT8-ik2UvpU2lZNs9bT6SnQdEyaH1rOgrHwKqZkabSvB6wxs/s1600/Margam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQSunJ4ZtWBpZ2A1QQwl7nhjEY9mLSlcL3ZFV8YJ0oDuhGLF0kjHGYvuaBEw312LND1txnLTdQozmUGbGcFv-umvnAgvpcT8-ik2UvpU2lZNs9bT6SnQdEyaH1rOgrHwKqZkabSvB6wxs/s400/Margam.jpg" width="400" /></a></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
So how much more NEO would Shankar take
this full lengh venture? Artistic Director of the festival, Ramli Ibrahim,
himself a national icon in Malaysia, urged Shankar to take his modern accents
into a longer offering, Shankar had many directions in which to take his vision
of Bharatanatyam. <o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
Using new nomenclatures for each of
the five dance pieces - Rhythm Mandala. Off Balance, Monologue, Gossip and
Thrillana, Shankar stayed within the familiar 'margam'
progression to implode the choreography and staging with two main ideas as
catalysts.</div>
<div class="Body" style="text-align: justify;">
<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
INTRA - using Bharatanatyam's kinetic
ability to push each posture and movement into unfamiliar areas and INTER - using the connections between
Bharatanatyam and other dance forms.</div>
<div class="Body" style="text-align: justify;">
<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
The presiding memory of the sound
design became the piano. In selecting this percussion instrument to become the
"bed" of sound to anchor the fluid choreography, Shankar sacrificed
the complex melodic structures of Carnatic music. Off tune singing was a ear
sore but beautiful staging, lovely lighting with eye catching gobos and lithe
dancers pulled the uneven ideas together.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
Shankar tried to put the five part
performance in context by walking onto stage<span style="mso-spacerun: yes;">
</span>at the very beginning in a practice dhoti and taking off his T shirt.
With his back to the audiences, caught in a gentle pool of light, he went
through the contours of his movement vocabulary. He was graceful, light footed
and wonderful to watch. If only he could have extended that moment longer. The
silent magic was rudely punctured with the entry of the slim but over adorned dancers
- bells, jewellery and all.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
So what was NEO about this? My mind
began to hunt for answers as the choreography unfolded.<span style="mso-spacerun: yes;"> </span>However, cynical doubts were temporarily
pushed aside as the<span style="mso-spacerun: yes;"> </span>the imaginatively
structured Ganapati Vandana and Alarippu etched a beautiful kinetic diagram.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
This was followed by the central idea
of the evening. OFF BALANCE was an 'neo" response to the lovely
Jathiswaram. It was this piece that made the choreographer's vision illuminated
most clearly. Tilting ever so slightly beyond the "natyarambha"
position and falling 'off balance' throughout the choric refrains was both
poetic and arresting. <o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
What followed were three uninspiring
dances.. MONOLOGUE was melodramatic and over articulated - cinema influenced
hysterics seeping into voices trying to SPEAK the first line of the Lalgudi
Jayaraman Tamil 'varnam'<span style="mso-spacerun: yes;"> </span>in various
ways- much like the "sanchari" exploration of a classical dancer.
Bodies throwing themselves in various directions. Supple yes. But what was the
point?<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
GOSSIP followed, taking the well known
'pallavi' sections of javalis and padams. None of the 'angika abhinaya' worked.
It became monotonous and repetitive. Again, more flailing of limbs<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
After having watched a cascade of non
stop movement from ballet, Odissi, contemporary technique, fall and release
training and Bharatanatyam fused together for almost 50 minutes, the final
THRILLANA seemed to be the same old same old.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
Not to take away anything from the
brave attempt by both dancers and the choreographer. NEO MARGAM has huge
potential but the idea needs to be more rigorously discussed and Shankar needs
to create some intervals where he puts himself on stage and not handling the
lights. The dancers need a fresh look at costumes and the choreography can
certainly have more variety.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
My biggest question was " Where
was the CENTRE of the classical form from which one could be pushed off
centre?" I did not see a single moment of araimandi and the clear lines of
the form in which the blurring or tweaking could then be more enjoyed.<o:p></o:p></div>
<div class="Body" style="text-align: justify;">
<br /></div>
<div class="Body" style="text-align: justify;">
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>722</o:Words>
<o:Characters>4120</o:Characters>
<o:Company>PROPEL</o:Company>
<o:Lines>34</o:Lines>
<o:Paragraphs>9</o:Paragraphs>
<o:CharactersWithSpaces>4833</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
border:none;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="Body" style="text-align: justify;">
NEO MARGAM is worth watching and this
trajectory of dance design is one way in which classical training can travel.
Shankar Kandasamy has very good ideas and a marvellous company of well trained
young women to mount them on. <o:p></o:p></div>
</div>
Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com1tag:blogger.com,1999:blog-7274782343702081373.post-18398698524229719832015-09-13T04:59:00.000-07:002015-09-13T04:59:56.475-07:00SIRIYAMMA SIRI Laugh O Goddess, Laugh!<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivfnE2Pjc_fL0lPPTktSitjYz8PxsImbqL705OKHOeeabadJTR1pcUHR0WITlgL9_QwBrHHWu192Nh-6r0gQFJvotphsl1gyG0PQD0cH-ItVswuvJWkSE0w_NHbFq3yj9CC1jz8pkF92E/s1600/Screen+Shot+2015-09-13+at+12.29.31+pm.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivfnE2Pjc_fL0lPPTktSitjYz8PxsImbqL705OKHOeeabadJTR1pcUHR0WITlgL9_QwBrHHWu192Nh-6r0gQFJvotphsl1gyG0PQD0cH-ItVswuvJWkSE0w_NHbFq3yj9CC1jz8pkF92E/s320/Screen+Shot+2015-09-13+at+12.29.31+pm.png" width="320" /></a></div>
<div class="Body" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5KV_Myoz47pzfeHwFjhYXjT3770h4qbbKcGnGwnLuOQbRH19PSbsqA3wQml1W2BSgsVC3ieNCj49vHITDdsXPoq5148Gdw2HHSDq0HuYpLyDatZ946z_NbYYjUWgrCN1KjhFHXZTI3Xg/s1600/Anitha13sep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5KV_Myoz47pzfeHwFjhYXjT3770h4qbbKcGnGwnLuOQbRH19PSbsqA3wQml1W2BSgsVC3ieNCj49vHITDdsXPoq5148Gdw2HHSDq0HuYpLyDatZ946z_NbYYjUWgrCN1KjhFHXZTI3Xg/s400/Anitha13sep.jpg" width="225" /></a></div>
<br />
<br />
SIRIYAMMA SIRI<o:p></o:p></div>
<div class="Body" style="text-align: center;">
Laugh O Goddess, Laugh!<o:p></o:p></div>
<div class="Body" style="text-align: center;">
PERFORMANCE at DBKL<o:p></o:p></div>
<div class="Body" style="text-align: center;">
September 8, 2015<o:p></o:p></div>
<div style="text-align: center;">
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>13</o:Words>
<o:Characters>78</o:Characters>
<o:Company>PROPEL</o:Company>
<o:Lines>1</o:Lines>
<o:Paragraphs>1</o:Paragraphs>
<o:CharactersWithSpaces>90</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
border:none;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="Body" style="text-align: center;">
Kuala Lumpur<o:p></o:p></div>
<div class="Body" style="text-align: center;">
<br /></div>
<div class="Body" style="text-align: center;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Why is
the best of India rarely available at home? This was the question buzzing in my
mind while watching the folk-opera ( my own coinage ) unfold onto the impressive
DBKL auditorium.<o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Two days
earlier, I had watched a contemporary performance-art presentation that was
both urban and international in flavour. Now, I was witnessing decades of folk
traditions, precious rituals and unpretentious artistes hurl themselves onto
the proscenium stage and fill it with their natural vigour and colour. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
SIRIYAMMA
SIRI, is a Tamil term addressed to the native Goddess. It is a plea from the
villagers who entreat the enraged Goddess-Devi to calm down after her furious
encounter with the demon Dainika. The slaying of the enemy does not appease Her
anger and the seething cauldron threatens to engulf the earth. Through song,
dance, comedy and music the entire village joins in the appeasement and taming<span style="mso-spacerun: yes;"> </span>of the feminine energy. "Don't be angry
O Devi", they ask. " The entire world is not evil like Dainika. So
LAUGH O GODDESS, LAUGH!". <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Envisioned
by folklorist and Gandhian V R Devika, whose 30 year engagement with the rural
arts has given her an inside eye into the entire landscape and challenges of
the folk artistes of South India, the multi layered evening reflected her sure
footed grasp on the complexities of the performance. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
For many
artistes, it was their first journey across the oceans. First time passport
holders, new costumes, interaction with other folk artistes and submitting to
the larger story in which so many genres and styles of folk and ritual
traditions merge would have been a first for many of them. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBnUha1FMDiri7FFU70c5QnjP83CossiMigvnkvYN2ZG99MqOw5Pg9Id7ViRvxp-h_uT-TrMJu954dh36L5x81jhfGTHEYjCcaJ-JIf7N7NiyNQlmxxr9IBbKPErsVL-RSxxhqA3XlHRo/s1600/20150908_204512-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBnUha1FMDiri7FFU70c5QnjP83CossiMigvnkvYN2ZG99MqOw5Pg9Id7ViRvxp-h_uT-TrMJu954dh36L5x81jhfGTHEYjCcaJ-JIf7N7NiyNQlmxxr9IBbKPErsVL-RSxxhqA3XlHRo/s320/20150908_204512-1.jpg" width="320" /></a></div>
Charming
in their natural naivet<span style="font-family: "Arial Unicode MS";">é</span>,
the storytellers ( katttiyakaran) and the gypsy (kurathi) were full of unspoilt
verve. The dynamic Therukoothu performers whirled onto the stage in their
spectacular garb but the scene stealers were the Padayani artistes from Kerala.
I watched backstage while they diligently cut the palm leaves to make their
elaborate skirts, head dresses and arm accessories. The result<span style="mso-spacerun: yes;"> </span>when they walked onto the stage was simply
breathtaking. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
While the
story of the angry Goddess confronting the demon and the subsequent fall out
formed the skeleton of the story, the multiple devices that Devika chose to
move the narrative forward was particularly engaging for a viewer like myself.
Having interacted with Tamil folk and ritual forms for decades, I was very
aware of the challenges directors and cultural interlocutors face when asked to
compress an all night celebration into a 75 minute performance capsule. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Each of
the performers come with their attendant rituals and sacred observations. These
traditions are hereditary and not taught to many outsiders. Language poses the
most difficult obstacle with colloquial phrases used for humorous
intersections. <o:p></o:p><br />
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Working
the hardest and pulling all the elements together was dance-actor Sangeetha
Iswaran. A Bharatanatyam dancer now working with children and special communities
in Thailand and Indonesia, Sangeeta transformed into many avatars. Angry
Goddess, sarcastic narrator, village woman - every entry became the glue
holding the disparate elements together. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
I longed
to have super titles translating the Malayalam songs and Tamil dialogues for
the audience, but the sensitive crowd seemed to throw themselves into the
spirit of the evening without hesitation. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixN3AdDeAYXawd7sQxO7XIdUeIo5MefQgA4ASRx_sCVlgoUxKSjD4gxpOF2jI4buCS0x_o1kpdmDtIOQz8OIGvXoA_6DmVa6b-Hmlq5nxzGkpT-1Txjwojd2GzB80yUDCqMcBfDpSpYrs/s1600/20150908_205739.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixN3AdDeAYXawd7sQxO7XIdUeIo5MefQgA4ASRx_sCVlgoUxKSjD4gxpOF2jI4buCS0x_o1kpdmDtIOQz8OIGvXoA_6DmVa6b-Hmlq5nxzGkpT-1Txjwojd2GzB80yUDCqMcBfDpSpYrs/s320/20150908_205739.jpg" width="180" /></a></div>
SIRIYAMMA
SIRI benefited with the skill of the lighting magician Sivarajah Natarajah of
Sutra. An artist by profession, we have seen his ability to paint the stage
whenever SUTRA has performed in India. For this performance Siva carefully
sculpted and tinted<span style="mso-spacerun: yes;"> </span>each section,
keeping the costume and head gear in mind and miraculously softened the rough
edges of each folk form, especially during the entrances and exits. The
resulting sophistication was a feast for the eyes. <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br />
Each
artiste brought their own flavour to the evening and no one person can be
singled out. From the musicians placed in a diagonal corner and lit delicately,
to the multiple pools of intersecting light for each of the main players as
they performed their sections, it was a triumph of ensemble. With repeated
shows, the work will mature and gain tautness which is needed in its premiere
viewing.<span style="mso-spacerun: yes;"> </span>For me, the Ottam Thullal solo
by Suresh Kaliyath was memorable for the physicality being projected as monkey
God Hanuman. The<span style="mso-spacerun: yes;"> </span>Kattiyakaran - kurathi
tattoo interlude brought a smile to many a face. Therukoothu continue to thrill
me with its sheer force and energetic theatricality. The final Padayani solo
trance by Rajmohan, was hypnotic and powerful.</div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
Backstage
was organized chaos. Devika credits the stage management<br />
<o:p></o:p><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBWfDyqCKe6DuzFkBoDJhChR_bR_oMkpGMBPwdnw8FoB7Ev-fnh8Eu92gS15GSq56zGcV8Ke3Xy70VANtOI7V8W6Zf1lBGYLPVc-gx5iHSI6cXobgTK8_dbVQY3-t_i5rhgdBTyhH2j4g/s1600/20150908_203456-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBWfDyqCKe6DuzFkBoDJhChR_bR_oMkpGMBPwdnw8FoB7Ev-fnh8Eu92gS15GSq56zGcV8Ke3Xy70VANtOI7V8W6Zf1lBGYLPVc-gx5iHSI6cXobgTK8_dbVQY3-t_i5rhgdBTyhH2j4g/s320/20150908_203456-1.jpg" width="299" /></a></div>
of the crew for
ensuring the smooth costume changes and timely exits and entrances for the
complex evening. </div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
How much
we in Indian theatre practice can learn from the professionalism of theatre
staff and when can we hope to bring such evenings to urban audiences in our
hometowns? <o:p></o:p></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
SIRIYAMMA
SIRI was not just a successful showcase of South Indian folk and ritual theatre
traditions coalesced into an evening length performance. It was also a reminder
that jaded urban eyes need to be refreshed and reminded<span style="mso-spacerun: yes;"> </span>of the power of the soil and the constant
inspiration of traditional art. Throughout history, great directors,
choreographers, photographers and visual artists<span style="mso-spacerun: yes;"> </span>have drawn inspiration from time honoured
traditions.<o:p></o:p></div>
<div class="Body" style="text-align: left;">
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>818</o:Words>
<o:Characters>4664</o:Characters>
<o:Company>PROPEL</o:Company>
<o:Lines>38</o:Lines>
<o:Paragraphs>10</o:Paragraphs>
<o:CharactersWithSpaces>5472</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
border:none;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--></div>
<div class="Body" style="text-align: justify; text-justify: inter-ideograph;">
The earth
speaks.. We just have to put down our hand helds, look up and listen!<o:p></o:p></div>
</div>
Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-58907598108929697332015-09-09T00:33:00.001-07:002015-09-09T20:52:25.789-07:00Path of Discovery<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="Body">
<!--[if gte vml 1]><v:shapetype
id="_x0000_t75" coordsize="21600,21600" o:spt="75" o:preferrelative="t"
path="m@4@5l@4@11@9@11@9@5xe" filled="f" stroked="f">
<v:stroke joinstyle="miter"/>
<v:formulas>
<v:f eqn="if lineDrawn pixelLineWidth 0"/>
<v:f eqn="sum @0 1 0"/>
<v:f eqn="sum 0 0 @1"/>
<v:f eqn="prod @2 1 2"/>
<v:f eqn="prod @3 21600 pixelWidth"/>
<v:f eqn="prod @3 21600 pixelHeight"/>
<v:f eqn="sum @0 0 1"/>
<v:f eqn="prod @6 1 2"/>
<v:f eqn="prod @7 21600 pixelWidth"/>
<v:f eqn="sum @8 21600 0"/>
<v:f eqn="prod @7 21600 pixelHeight"/>
<v:f eqn="sum @10 21600 0"/>
</v:formulas>
<v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/>
<o:lock v:ext="edit" aspectratio="t"/>
</v:shapetype><v:shape id="Picture_x0020_1" o:spid="_x0000_i1025" type="#_x0000_t75"
style='width:126.75pt;height:126.75pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="file:///C:\Users\Dell\AppData\Local\Temp\msohtmlclip1\01\clip_image001.jpg"
o:title="Final Logo - JPEG-01"/>
</v:shape><![endif]--><!--[if !vml]--><!--[endif]--></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmNnUCxms5_zssFpwI8EL-TWg_p7Ir2hqBhWIGc4N_To85o_nkUUQSC0cpLT20Taiop31ezepbKUYQw4aV4zbOFGKfP59UsaxTPZjRsQkNfrkX0iT_fAoqg7ivkeVj-5p2X76WafYS_L4/s1600/Final+Logo+-+JPEG-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmNnUCxms5_zssFpwI8EL-TWg_p7Ir2hqBhWIGc4N_To85o_nkUUQSC0cpLT20Taiop31ezepbKUYQw4aV4zbOFGKfP59UsaxTPZjRsQkNfrkX0iT_fAoqg7ivkeVj-5p2X76WafYS_L4/s200/Final+Logo+-+JPEG-01.jpg" width="200" /></a></div>
<div class="Body">
<div style="text-align: center;">
PATH OF DISCOVERY</div>
</div>
<div class="Body">
<div style="text-align: center;">
DiverseCity 2015</div>
</div>
<div class="Body">
<div style="text-align: center;">
KL International Arts Festival</div>
</div>
<div class="Body">
<div style="text-align: center;">
<span style="text-align: left;">Performance #1</span></div>
</div>
<div class="Body">
<br /></div>
<div class="Body">
September 6, 2015</div>
<div class="Body">
DBKL Auditorium</div>
<div class="Body">
<br /></div>
<div class="Body">
<span id="goog_770016767"></span></div>
<div class="Body">
Years ago, Malaysia ran a tourism promotion titled MALAYSIA TRULY
ASIA, starring actress Michelle Yeoh. It spoke of the pouring into one country
the best and most distilled essences of South East Asia. While the lustre may
have dimmed from 15 years ago when the TV ads were broadcast, the performance I
watched almost straight off the flight, seemed to be a theatrical avatar of
that spirit</div>
<div class="Body">
<br /></div>
<div class="Body">
PATH OF DISCOVERY was the second official premiere for DiverseCity
a month long festival of live arts presentations which features Malaysia as the
ASEAN destination of the year. </div>
<div class="Body">
<br /></div>
<div class="Body">
I missed the first show on September 5 which was a highly
acclaimed contemporary showcase of 6 Malaysian choreographers. Pictures of that
will follow in later blogs</div>
<div class="Body">
<br /></div>
<div class="Body">
PATH OF DISCOVERY contained the piano as the core sound scape
while various well known Malaysian artistes from dance, theatre and opera
quilted the evening with their presence.</div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqJfWq5KZyQFCPeIywXYmi3PXV5PTzuOEARrM2OmgheTb8ocG-rA7Ods7dgyk6h31YrqaTgdGT_QzRjB4v-d-F3_usuSE2Ffmc7m41n7_yyaWYWSKG0oT37-kyWYM7v_PG9zd54vWqkE/s1600/20150906_192058.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqJfWq5KZyQFCPeIywXYmi3PXV5PTzuOEARrM2OmgheTb8ocG-rA7Ods7dgyk6h31YrqaTgdGT_QzRjB4v-d-F3_usuSE2Ffmc7m41n7_yyaWYWSKG0oT37-kyWYM7v_PG9zd54vWqkE/s320/20150906_192058.jpg" width="179" /></a></div>
<div class="Body">
<br />
An American pianist - Kimball Gallagher - met the gorgeous and
supremely talented Taiwanese pianist - Kai-Yin Huang, and together they began
the global journey of "88 KEYS". Inspired by the 88 keys of the piano, theirs
is a collaboration with Myanmar as its geographical centre. Co-founders of the
Myanmar Music Festival a few years ago, their presence in Malaysia was to tempt
this country's renowned artistes to throw their hats into the improvisation
ring. </div>
<div class="Body">
And they did. </div>
<div class="Body">
<br /></div>
<div class="Body">
Playing Bach, and other classical composers as scaffolding, the
two musicians displayed remarkable virtuosity while remaining sensitive to the
presence of the various performers who came in and out of their aural tapestry.
Dynamic Sabera Shaikh, Malaysia's best known theatre actor entered with the
poem GREETINGS TO THE CONTINENT by Usman Awang. A moving and timely reminder of
the ravages of violence and the displacement of humanity, her performance was
marked by her expressive voice and simple but effective movement. </div>
<div class="Body">
<br /></div>
<div class="Body">
Watching Ramli float onto the stage wearing a white skirt was a
"moment". I saw the years of ballet training in his light-footed
approach as well as his sinuous body respond to both the piano and the soprano
voice of Malaysian artiste YiLing Chaing. Her French songs from the Alpine
region were of young girls and boys with their flock. Ramli's soft leg
extensions and suggested leaning onto Chaing' s shoulders, as well as his
performance on the floor were particularly memorable. When Gallagher presented his alphabet tribute
with each key of the piano suggesting the alphabets of Ramli Ibrahim's name, I
felt like I had watched a dance version of Sinatra's famous MY WAY. Ramli's short improv suggested a dignified
way of saying "Been there, done that!"<br />
<br />
Give me Ramli in this solo contemporary avatar any day. I love
his Odissi but with maturity, and a still supple body, THIS is the space he
fills so wonderfully.</div>
<div class="Body">
<br /></div>
<div class="Body">
As the evening unfolded, it became clear that although the two
pianists were the anchor for the show, it was the four Malaysian artistes who
were giving it colour and breath. Taking off from the French and Taiwanese
cultural tropes of songs to mimic favourite games, young dancer Weijin Loh
charmed us with his agility and imaginative use of remote controlled toy
car (which crashed into the empty VIP
seating area!) as a response to the four
playful musical sections of Jumping Frog, Fishing Toy, Kite and Remote Control
Car. </div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggA5vGTjmreLrBTnrCElUSOUFYy4KKLKOZt0qj8MjsERRb-LaMQHXJFNTgYuNKMwLHoTtG9-scJ80y9BK_Xm8xbn3zl6cWCKRb7PcOY9otusF_iWIfTAGAk-MUYKk4V-pJf7ZyTjpMGlk/s1600/20150906_211426-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggA5vGTjmreLrBTnrCElUSOUFYy4KKLKOZt0qj8MjsERRb-LaMQHXJFNTgYuNKMwLHoTtG9-scJ80y9BK_Xm8xbn3zl6cWCKRb7PcOY9otusF_iWIfTAGAk-MUYKk4V-pJf7ZyTjpMGlk/s320/20150906_211426-1.jpg" width="320" /></a></div>
<div class="Body">
A nice foil to the mature presence of Sabera, Ramli and YiLing,
this young man represented the "here and now" of Malaysian dance.</div>
<div class="Body">
<br /></div>
<div class="Body">
The final piece was a long and ambitious venture attempting to
collapse the ideas of music, visual design, performance, acting and dance.
Titled PICTURES AT AN EXHIBITION, Gallagher played excerpts of French, Russian
and European composers as the four actors entered as if "wandering into an art gallery" and responding to
the changing music with varying pace and mood. </div>
<div class="Body">
<br /></div>
<div class="Body">
PATH OF DISCOVERY was both an individual's response, via the
piano, to the inner artiste in each of
us while simultaneously declaring -
"This is Malaysia-local Asian and global". Or as Satyajit Ray
famously said of brilliant art - GLOCAL. </div>
<div class="Body">
<br /></div>
<div class="Body">
About the Title</div>
<br />
<div class="Body">
AMOK is a Malay-Indonesian word ( AMUCK) that originally
suggested 'warrior-like". Over the years it has been changed to be spelled
AMOK and come to mean wild, destructive and untamed. I have chosen this word
for my two week report from Kuala Lumpur during the KL International Arts
Festival DiverseCity. So much is happening almost daily and the senses and
spirit are truly "running amok"! </div>
</div>
Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com1tag:blogger.com,1999:blog-7274782343702081373.post-10809605023136920062015-09-05T21:44:00.001-07:002015-09-07T07:52:40.029-07:00ANITA RUNS AMOK Blog #1<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfozgPdyo6Q1vkdGBcbHuexb3t1_V9AOTQGQtHpo84kNfSlYG6JswXQYbzRscwdK6G7lzakHr1CxpJjrv0uAMaAME15dB1cpDDFLUJ_GEf8thDgWYwrQ5M3zpp1QZ6YHwKTG5Vc_cavY/s1600/20150906_072449-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkzezZWgy7VBWvCDd0r7BWepJvxtZk7aLqHlSWTs825F6GY9DKueOr0diaN8C1Av6htj-9yAYrya4druANQn4EN8F4nyqoFxbFtoyzsCa7bdOKN9HX-Ir3G1E5NJxhpW6AamUcrm0ZTdY/s1600/Final+Logo+-+JPEG-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkzezZWgy7VBWvCDd0r7BWepJvxtZk7aLqHlSWTs825F6GY9DKueOr0diaN8C1Av6htj-9yAYrya4druANQn4EN8F4nyqoFxbFtoyzsCa7bdOKN9HX-Ir3G1E5NJxhpW6AamUcrm0ZTdY/s200/Final+Logo+-+JPEG-01.jpg" width="200" /></a></div>
<div class="Body">
<br /></div>
<br />
<div class="Body">
<br /></div>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfozgPdyo6Q1vkdGBcbHuexb3t1_V9AOTQGQtHpo84kNfSlYG6JswXQYbzRscwdK6G7lzakHr1CxpJjrv0uAMaAME15dB1cpDDFLUJ_GEf8thDgWYwrQ5M3zpp1QZ6YHwKTG5Vc_cavY/s1600/20150906_072449-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><br /></a>ANITA RUNS AMOK<br />
<div class="Body">
Blog #1 September 6, 2015</div>
<div class="Body">
Kuala Lumpur - Federal Hotel, Bukit Bintang</div>
<div class="Body">
<br /></div>
<div class="Body">
<div class="Body">
<br /></div>
<div class="Body">
<br /></div>
<div class="Body">
<br /></div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfozgPdyo6Q1vkdGBcbHuexb3t1_V9AOTQGQtHpo84kNfSlYG6JswXQYbzRscwdK6G7lzakHr1CxpJjrv0uAMaAME15dB1cpDDFLUJ_GEf8thDgWYwrQ5M3zpp1QZ6YHwKTG5Vc_cavY/s1600/20150906_072449-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfozgPdyo6Q1vkdGBcbHuexb3t1_V9AOTQGQtHpo84kNfSlYG6JswXQYbzRscwdK6G7lzakHr1CxpJjrv0uAMaAME15dB1cpDDFLUJ_GEf8thDgWYwrQ5M3zpp1QZ6YHwKTG5Vc_cavY/s320/20150906_072449-1.jpg" /></a>The trip began for me when the one and only Ramli Ibrahim handed
me the slim brochure containing more than 20 world premieres in music, dance,
theatre, traditional arts, storytelling, folk arts, food, fashion and more.</div>
<div class="Body">
<br /></div>
<div class="Body">
With Malaysia being the featured ASEAN country of 2015, the
cultural vortex has become the capital city of Kuala Lumpur. For years,
Malaysia, one of the most interesting crucible of cultures in South East Asia,
has somewhat been nudged aside by its neighbours Thailand, Singapore,
Indonesia, Cambodia and recently, Vietnam and Myanmar. To me, Malaysia is the
most ASIAN of countries.. Not only does it have the essence of all its
neighbours but it also has a fascinating history of Indian diaspora. More
interesting but less successful in tooting its own horn than Singapore, the
country has an amazing mix of creative talent that has been forced to fend for
itself and find ways to promote and stay alive in a turbulent political
climate.</div>
<div class="Body">
<br /></div>
<div class="Body">
For readers of this blog, the name that resonates is that of
Ramli Ibrahim. Outspoken, admired, feared and respected, this Bhoomi Putra of
Malaysia has had his share of challenges. Riding every rough wave with the tact
of a champion surfer, Ramli is now one of the three artistic directors of DIVERSECITY,
a word that puns on the very nature of Kuala Lumpur's DIVERSITY.</div>
<div class="Body">
<br /></div>
<div class="Body">
Leaving Chennai's horrendously clunky airport at midnight, I
landed into the bustling KLIA in the early hours of Sunday morning September
6th. Making the mandatory stop at the phone store to procure a local SIM card,
my adventures began soon after checking into the Federal Hotel in the heart of
the Bukit Bintang area of the city. </div>
<div class="Body">
<br /></div>
<div class="Body">
Unpacking and some yoga breathing done, I felt calmer and
prepared to have a traditional Balinese massage to get over the stiff limbs and
slight jet lag. A quick visit to the local health store to stock up on some
good snacks with yoga guru Sumitra Sekaran was another eye opener to the immense
variety of foods available in the city. </div>
<div class="Body">
<br /></div>
<div class="Body">
When I visited 10 years ago for a performance of SEVEN GRACES and
UTPALA, KL was an exciting city. The Petronas Twin Towers were an Asian World
Trade Centre and Chinatown was a shopper's bargain heaven! Europeans,
Americans, Brits, South Americans, Australians were swarming wherever the eyes
could see. Ten years later, the diversity is still there but mainland China and
South Korea seem to have embraced Malaysia and its fantastic golf courses with
gusto. Apartments are being sold in blocks to golf addicts and the rising Asian
super billionaire lot love this complex Asian country. The European and other western presence is
markedly less. </div>
<div class="Body">
<br /></div>
<div class="Body">
For artistes, this is the time to create and watch. And that is
what brings me here for the next 2 weeks. To watch 14 world premieres and share
my reports with readers. DIVERSECITY has already begun on September 3 with the
world premiere of TEPAK TARI, a contemporary dance by MY DANCE ALLIANCE. Today was the earliest that I could arrive,
what with an important performance just under my belt in Bombay.</div>
<div class="Body">
<br /></div>
<div class="Body">
So KL.. here I am..Meet Anita Ratnam running 'amok' among
artistes, dancers, chefs, musicians and other creative minds in this fantastic
city!</div>
<div class="Body">
<br /></div>
<br />
<div class="Body">
PS: The word AMOK is
originally Malay. It was spelled AMUCK and has its origins in the 16th century
from Malaysian-Indonesian sources. It used to suggest someone of a
"warrior like courage." Today it suggests a kind of destructive
madness - TO RUN AMOK". In this
instance I have chosen this word since the month long festival is planned to
cause a real "stir" with the citizens and business community in
Malaysia. So AMOK it is!</div>
</div>
<div class="Body">
</div>
<div class="Body">
<br /></div>
</div>
Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-72810785748219068882012-03-26T17:37:00.001-07:002012-03-26T17:37:12.276-07:00Mira Nair: National Arts and Humanities Medals Keynote<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/2N14y-C-uOY?fs=1" width="480"></iframe>Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-57410435979446992262011-02-14T02:26:00.000-08:002011-02-14T02:26:28.211-08:00think loud: Iyengar Airlines - IGA<a href="http://arvindsdad.blogspot.com/2010/03/iyengar-airlines-iga.html">think loud: Iyengar Airlines - IGA</a>Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com2tag:blogger.com,1999:blog-7274782343702081373.post-79437422511855599282011-01-31T23:54:00.000-08:002011-01-31T23:56:36.335-08:00The Awards TsunamiIn 1988 Bharatanatyam dancer Sudharani Raghupathy was sitting on the roadside in Karnataka sipping tea, a day after her performance. Her van had broken down and the mechanic was on his way. The teashop owner recognized her face from the photo in the morning newspaper. “are you Sudharani Raghupathy? I am honoured to meet a Padmashri.” That was how this dedicated dancer was told about her national honour. She was 44 years old. When she returned to her Mylapore home it was to a room full of telegrams and flowers. There was not a murmur about her merit and talent. <br />Over the past ten years, the Padma awards have ceased to reflect the intended patina of honour. For one, the net has been widened to include the fields of business, medicine and public service. While this is certainly commendable, the honouring of film stars who have done nothing for the medium is only devaluing the award. Rekha, the eternal diva, was honoured as late as last year along with film brat Saif Ali Khan! Both received the Padma Shri. Many times the list includes those who are in their nineties and often unable to stand or walk to receive the award from the President of India. Like RK Srikantan who is now 92 years old and finally recognized for his superb contribution to Carnatic music.<br />This year the inclusion of design guru Dasrath Patel for the Padma awards was bittersweet since Patel had passed away 9 weeks earlier to the announcement on Republic Day. Obviously nobody in the Home Ministry bothered to check on the names after they had been cleared. <br />Remember the furore last year over controversial NRI hotelier Sant Chatwal receiving the Padma Bhushan? Was that really deserved? Were there other pressures involved? The Padma awards are not supposed to be mentioned, according to the Supreme Court declaration, as a title in visiting cards and stationery. That does not stop many awardees from printing this national honour in bold letters on any given opportunity. <br />Through the RIGHT TO INFORMATION ACT, the complete list of more than 1000 names who were nominated for the Padma awards this year was available to all. The list revealed the huge disparity in collating the so called “deserving” individuals for the various Padma honours. A 35 year old Carnatic singer was competing with an 80 year old Bharatanatyam dancer. Fortunately the dancer received the award this year. Lobbying and jockeying for awards has become so common that some dancers and musicians are inviting former awardees as chief guests to their functions and gifting them with gold jewellery in return for the award.<br /> Tamilnadu government’s recent list of state awards called the KALAIMAMANI, also reveals discrepancies. Kollywood starlets like Anushka and Tamannah receive the award alongside veterans like actor Revathy Sankkaran and theatre director Prasanna Ramaswamy! And to top it all, two committee members on a national government cultural department gave themselves awards while selecting others! Only in India can we see such blatant conflict of interest. It is like the wife directs a play, her daughter acts in it and her husband writes about the event in the media. The public reads this and actually believes the report to be objective and unbiased! <br />While awards, like life, can never satisfy everyone and be totally just, it is only fair that we as citizens of a democracy can expect to admire true achievers who have distinguished themselves in their chosen field of endeavour and enhanced India’s profile in the world. Not upstarts and publicity junkies who play the game and masquerade temperament for talent!Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-5925413694192838702011-01-25T00:52:00.000-08:002011-01-28T20:54:16.087-08:00REAL LIFE AND REEL LIFEThe recent viewing of the film NO ONE KILLED JESSICA reminded me of the challenges of translating an an acutual incident onto celluloud. The sensational night when model/bartender Jessica Lal was shot by a boorish politician’s ‘beta’ fired the imagination of India on and off for seven years. The portrayal of the actual night of the shooting with the owner of the resto-bar, socialite Bina Ramani and her daughter Malini Ramani , was quite different from the actual flow of events. The mother was portrayed like distracted floozy and the daughter, a self righteous bimbette. Was that accurate? Knowing the mother, I can say that it was not like feisty Bina Ramani I used to know in New York in the last century. But that was life and this, before me, was the film.<br />How many biopics or incidents actually capture the person or the event truthfully? The answer is a paltry few. RAY, on the musician Ray Charles, WALK THE LINE on American country music sensation Johnny Cash, ALI on boxer Muhammad Ali are some sterling examples. Closer to home, NAYAKAN on the Mumbai don Varadaraj Mudaliar, BANDIT QUEEN on the explosive Phoolan Devi, Sivaji Ganesan’s VEERAPANDI KATTABOMMAN and the multiple award winning GANDHI(although made by British director Richard Attenborough) are some of the excellent films inspired by real events and people. Several others plummet into the chasm due to a deadly cocktail of misplaced reverence and self indulgent ego. <br /><br />In the case of GANDHI, Attenborough recounts the resistance in actually portaying the Mahatma as a flesh and blood person. The groupies wanted him portrayed as a FLAME ! “A bloody flame!” as Attenborough exclaimed in a TV interview. Imagine if the shrill screams of intolerance were able to silence the brilliance of Ben Kingsley and the now iconic film that continues to inspire a new generation of young Indians.<br />Generally, we Indians are weak at writing and filming biographies. How many truly honest self reflexive books have we read authored by icons of our times? In the world of performing arts, I can honestly say that most autobiographies are merely hagiographies. The unnecessary attitude of hallowed worship misses the human side of the artiste. Rare examples are RUKMINI DEVI by Leela Samson, CHANDRALEKHA by Rustom Barucha and AE MOHABBATEIN by Rita Ganguly on singer BEGUM AKHTAR are three exceptions where the human side of this renaissance triad was shared, warts and all. <br />We are also brittle when an outsider attempts to capture the essence of any of our great epic traditions. Many of you may not recall the superb 9 hour stage adaptation of the Mahabharata by British director Peter Brook which launched dancer Mallika Sarabhai’s international career. In 1986 I watched the production in New York city at the transformed Brooklyn Academy of Music. It was, in one word – breathtaking- in imagination, scale and performance. When the production attempted to tour India, a maelstrom of protest began. How could Bhishma Pitamaha be a dark African actor? How dare Sri Krishna speak with a French accent? Bhima from Burkina Faso? Impossible! Never! Nobody should be addressed by their names – Only Arya Putra or Aryaa Putri ! And the outrage continued until the entire tour was called off to our disappointment and dusgust. <br />So, while watching the glossed over incident on the night of Jessica Lal’s fatal shooting in what was otherwise a fairly good film, I walked out the movie theatre wondering why the bungled cover up by Bina and Malini Ramani after the killing and so many other actual TEHELKA- revealed facts were never mentioned. But that may not have made for a sensational sex hungry, headlines grabbing TV journo Rani Mukherjee character. <br />And so it goes.. from Real life to Reel life..Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-3793384212464210762011-01-19T21:31:00.000-08:002011-01-19T21:33:10.322-08:00COLOUR NO BAR? WRONG!The recent furor over the techno-meddling with the skin tones of Aishwarya Rai, Beyonce Knowles for Western magazine shoots has re-launched the age old argument about colour. When Surpanakha, Ravana’s sister in the beloved epic The Ramayana, is shown using fairness creams in a television ad, we realize that the stigma of an’ Indian’ skin tone that is brown in any form is actually considered a handicap or a weakness. Look at the matrimonial ads for “fair”, “light complexion” as if they are trophy points for a bride or a groom. Fairness creams and skin lightening products is a multi billion dollar industry and the subject of feminist ire and scholarship.<br />For the West, black may be beautiful for political correctness but the actresses who have succeeded in white-dominated Hollywood are those who resemble their Caucasian colleagues. Halle Berry, Rihanna, Whitney Houston, are all beautiful-yes but with aquiline noses and gently sloping chins. No hint of any African ancestry evident. All their endorsements show them with lighter skins than what is theirs naturally. When Monique of generous proportions won the Oscar for her supporting role in the disturbing film “Precious”, she was featured in VOGUE magazine with considerably lightened skin, causing a major racial uproar in the US.<br />In the world of performing arts, especially dance, the same rule applies. If you are light skinned with an international body type- slim, long limbs, lean torso- chances are that western presenters will choose you as their Asian Barbie Doll. If you are brown toned, then you MUST be of perfect body shape. No Indian Ajanta hips and Chola breasts. Yuck! Please be uber slim and’ exotic looking’. Look at Freida Pinto! She is poised to vault over beauteous Ash because of her size zero body size.<br />I am also no stranger to this subconscious prejudice. This time from the other end. As a Tamizh woman, I am often asked with amazement if I am “puuure Tamil” by people from the North AND the South. I was overlooked by the government some years ago to represent Tamilnadu at a major outdoor event, citing my light skin colour and “upper class looks”. Huh?. <br />Which brings me to the tyranny of the Western ‘optic’. All Asian women, or women of colour need to subscribe to the ruthless mono culture ‘gaze’ of the euro centric gatekeepers. A strong, outspoken Asian woman is not as welcome in performance spaces compared to the demure, adorned bride/dancer type. For the West, all Asian women are “geisha babes” and all Asian men are kung fu fighting Jackie Chans. We cannot wait until the Euro-centric gaze changes to accommodate all our differences and exciting individualities. We just have to go out and break down those barriers and claim our space. Until we do that, we will always cower beneath our beautiful brown tones in embarrassment.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com1tag:blogger.com,1999:blog-7274782343702081373.post-82252175209706975662010-12-27T22:31:00.000-08:002010-12-27T22:32:42.509-08:00In Further SoilA lot has been said about the diaspora who have distinguished themselves in almost every area of human experience . In fact, the 20th century has witnessed the largest volume of migration across the globe. Next to the Chinese, it is us Indians who have populated this planet in the furthest reaches of Alaska and Papua New Guinea. Where the ‘desis’ go, there also goes the culture, religion, food, dress and other customs and oddities. As much as we in India tend to poke fun at or envy the lifestyle and success of hundreds of our fellow Indians outside our shores, we rarely stop to think of the immense hard work and sacrifice that such success has demanded. Ask any Indian who lives within the geographical boundaries of this subcontinent to work the long hours of the New York news stand owner, a London garbage collector or a Chicago taxi driver and they will shudder at the sheer robotic nature of the job requirements. <br /><br />When it comes to the arts, I see a glaring gap in commitment and focus. This is the season for the dancers, musicians and arts student to fill our streets and stores. These visitors are smart, focused and prepared. Their arts calendars are planned with rehearsals, special classes and concert outings mapped out on their hand helds and I Phones. They do not carry the excess baggage of groupism or cronyism that plagues our local students and seniors. They watch, listen, discuss, learn and rehearse repeatedly. They take notes, do their homework and are model students in a classroom or in the auditorium where their punctuality and decorum are enviable. This is because they know how difficult it is to make an impact in their respective cultural constituencies as professional artistes. <br /><br />Ask any teacher about the differences in teaching their foreign or NRI student compared to a local person and the answer will invariably favour the outsider. For every brilliant India-based Indian dancer and musician, there are too many local hobbyists who erode the hard work of the serious practitioners. Already the academic centre of Indian dance and music has moved outside India. There is no serious scholarship or discourse worth mentioning in our country. Nobody here is interested in anything that is not cosmetic, glamorous or entertaining. In contrast, the presentations by Indian academics and scholars from overseas are objective, analytical and well researched. <br /><br />In a society that spouts homilies about the “inner core”, dipping into the “sacred waters of art” and partaking of a “divine experience”, it is about time that we call ourselves what we are. Hypocritical double speakers who talk out of the sides of our mouths. If we truly care about the arts, we should accept those who are striving every minute’ in further soil’ by transmuting and transforming our traditions and practices into classrooms, museums, concert halls, special needs and audience outreach. So let us stop poking fun at their stilted accents and their readiness to genuflect at a blink. Through the arts they perhaps love country more than many of us who reside here. In recognizing their contribution we honour ourselves.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-61276730211569223912010-12-14T21:13:00.000-08:002010-12-14T21:14:27.913-08:00Andal’s Sufi SisterIn the Tamizh month of Margazhi ( mid December to mid January), the evocative poetry of one of South India’s favourite female mystics is heard everyday in many homes. Usually in the iconic voice of the late M S Subbalskhmi, but also re-recorded by almost every Carnatic musician of any standing, Andal’s passionate love poems directed to Lord Ranganatha of Srirangam are held up as a lone woman resistance to the patriarchal society of the early 9th century AD South India. <br />Unknown to the beloved daughter of Vishnu Chittan, head priest of the temple at Srivilliputtur, another woman in the western deserts of Syria had heard the voice of her Lord one hundred years earlier. Rabia Al Basri was born in 717 AD in the small town of Hijri. Born as the fourth (rabia) daughter of a poor merchant, she was sold into slavery and endured many harsh duties as a household servant. One night, her master spied upon her midnight prayers and was shocked to see a halo surrounding Rabia’s face. He immediately freed her and she travelled into the desert to continue her monologue with her beloved. Resisting many offers of marriage, she claimed that her life did not need any distractions from human beings. It was Rabia who introduced the concept of DIVINE LOVE to Sufism. She believed that the Lord could be loved without fear or guilt as her predecessors in the Sufi tradition had preached. <br />Oh Allah, if I fear Hell, burn me in Hell<br />If I pray for Paradise, exclude me from Paradise<br />But if I worship you for your own sake<br />Do not exclude me from your everlasting beauty! <br /><br />Rabia Al Basri lived as a celibate upto to the ripe age of 80, denying herself all luxury except for a mat, a broken jug and a brick for her pillow. Her Tamizh ‘sister’, however, did not have such a long life. Immersed in dreams, prayers and poems of her beloved Vishnu, Andal’s ‘pasurams’ contain threats, pleas and impassioned outpourings of immense love and longing. Nature was her favourite metaphor. <br />Storm clouds caress my Lord’s shoulders<br />He stands mightier than a mountain <br />Dazzling, green, with red Lotus lips<br />Listen birds to my songs and wing them fast to His ears!<br /><br />Slowly starving herself in unrealized longing, Andal is believed to have been ‘absorbed’ into Vishnu’s form before she was 22 years old. Today she has found a pride of place alongside Vishnu’s consort, Goddess Lakshmi, in all South Indian temples and her story is among the earliest in the long and colourful lineage of female mystics in India. <br />As we listen to Andal’s eternal poems and remember her life in this special month, let us also recall her elder ‘ssiter’ Rabia who softened Sufism with her love and was the first among female mystics in the Sufi tradition.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-81361717189969256032010-12-06T20:57:00.000-08:002010-12-06T20:58:02.539-08:00Murky SpacesAn artiste seeks the perfect ambience for a performance. The physical space, the preparation areas, green rooms, dancing floor,the distance between the stage and the first row of seats, the acoustical design of the theatre all contribute to some theatres being more coveted than others. In a city that has already begun its month long carnival of dance and music, this is perhaps the right time to survey our cultural spaces as the NRI ’ rasikas’ descends upon us.<br /><br />I was at the re-opening of the newly renovated RUKMINI ARANGAM in Kalakshetra. Seated in the first row brought back memories of the time when the late Rukmini Arundale watched all her celebrated dance productions take shape in that serene, aesthetic space. The triangular pyramid like roof with a thatched interior surface, now weather proofed, a large semi circular stage reaching out to the audience and the traditional floor-seating area that is always occupied by the students, offered a simple throwback to the genius of traditional architecture in consonance with local weather and behaviour patterns. Even the incoherent dance performance did not deter my enjoyment as my mind flowed back to the days of rehearsals for RAMA VANAGAMANAM , where I played Kausalaya along with Apollo Hospitals chief Preetha Reddy who played Sumitra.<br /><br />Today we are forced to park our cars on the streets due to ill designed halls, conceived by disconnected architects or myopic chartered accountants who only look at the cash register and not at the experience of ‘sahridaya’. Add a concrete performance space that is ruinous on stamping feet, there are the filthy toilets, makeshift green rooms, invisible rehearsal spaces, inadequate lighting equipment and poor acoustics. The seating area usually carries the remnants of the previous occupant’s saris or dupattas. The main auditoriums have a smaller ‘sister’, called the mini-hall. Here the imagination has really been stunted, since the opportunity to build a truly smaller’black box’ theatre to accommodate 100 to 150 people with excellent acoustics has been lost. The beautiful ” Sittrarangam”, built 25 years ago in the Island Grounds space is abandoned since it is in the wrong geographic location of the city. <br /><br />Can you imagine cultural spaces like Esplanade in Singapore, Sadlers Wells in London or Lincoln Centre in New York that will allow its auditoriums for hire for computer classes and a corporate AGM? Can you imagine a Bollywood singer entertaining a family wedding party while kids run around eating food on the same stage that a world class artiste has just performed on the previous night? This is what our hallowed spaces around the country actually witness during the year or the ‘low season”. This is because NO cultural space, built by corporate philanthrophy has been sufficiently endowed to curate a year round cultural calendar. They also do not have qualified staff for audience and programme development. <br /><br /> Bhanot may have angered us by his hygiene comment during the Commonwealth Games, but artistes in India know he speaks the truth. Why do artistes put up with such low standards? It is plainly because the demand and supply ratio of singers and dancers to the spaces available is so lop sided that most artistes are willing to perform in ANY small square space with chaos and unprofessionalism around them. During this month, we have to prepare to set up and perform within FIFTEEN MINUTES after the classical musician has finished his/her performance.<br /><br />In our seventh decade of independence, we are still looking to the British, French, German and now the Korean to provide us the ‘other’ experience of contemporary and innovative work. The city’s Alliance Francaise has a renovated stage with shower stalls for the performers after the show.<br /><br />When will the “KALAI KAVALARS” wake up and when will the artistes protest loudly enough to affect a change in attitude. When will we have an integrated space like the National School of Drama, New Delhi, where actors and dancers can train, rehearse, perform, interact, discuss, argue, study,create and collaborate through the year. Where the artist is respected and artistic activity is enshrined as a legitimate creative process.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-65296194266664642932010-12-03T01:00:00.000-08:002010-12-03T01:01:52.293-08:00Invisible ChennaiAn exquisite contemporary dance show from London tours India and avoids Chennai. Another path breaking modern art installation in on view in Delhi and Mumbai and again, avoids coming to the South. What is with these cultural curators? Who sits in the corridors of power sipping tea and scones or ‘chai’ and’ biskuts’ to decide who gets to view these extraordinary art shows? Are we paraiahs? And to think that this month Chennai plays host to the world’s largest dance and music festival in the world. 600 concerts and every space in the city filled with notes and steps. So, if thousands converge onto Chennai for the SEASON and artistes find a discerning audience right here, what prevents the international culture-atti from including our city in their touring calendar?<br />The answer may lie in the culturally literate, intellectually arrogant and emotionally conservative Chennai-ite. There may have been a time when the greats like Muthuswami Diskshitar, Balasaraswati and even M S Subbalakshmi accommodated the presence and contribution of the ‘other’ with grace and magnanimity. Today Carnatic musicians are sniping at the presence of western instruments, growing beards and spouting philosophy; dancers are hiring annoying PR managers and bludgeoning social media with their false piety. We are in an age of self published bloggers and overbearing PR experts. All because there is no legitimate space or identity for an artiste in our society. <br />Open the newspapers are look at the job section. Can you find even a single ad for an artiste? WANTED- A music teacher for a school. WANTED- A dance teacher for a college. WANTED – an actor for theatre skills. You will not find a single request for an artiste. Not one. Nobody wants an artiste except between drinks and dinner at five star hotels and fancy gardens. If some institutions are hiring or interfacing with artistes then it is entirely due to the inputs of one particular individual in upper management. If artistes are now considered mere entertainers in this great country of ours, Ivy League universities are actually hiring dancers and composers for their departments of architecture and science! Yes. Harvard University is actively engaged with senior choreographers and dance makers in their international project on urban design. An alternative or out-of-the-box point of view is what everyone wants. And performing artistes can often provide these prophetic insights. <br />During my tenure as co founder and co curator of the contemporary THE OTHER FESTIVAL, many forms of modernity came to this city and was welcomed warmly. However, all these festival fares focused on the small and experimental works, not large spectacles like Jeyasingh or Kapoor which needed more resources and larger spaces. Until our cultural gatekeepers and funders get their act together, Shobana Jeyasingh Dance Company thrills Delhi, Mumbai and even Bengaluru. (Ironically, Shobana’s major supporter was a Chennai based automobile company, TVS Motors). Sculptor Anish Kapoor’s brilliant art installations enthrall visitors in Delhi and Mumbai. While we, the superior and brainy Chennai-vasi, miss these witty and breathtaking moments with our fixation on purity, authenticity and the sacred. Our singers and dancers thrill world audiences but we are not as gracious to accommodate the truly contemporary and modern interpreters of the form in our hometown. Watching Shobana’s cerebral choreography in New Delhi made me realize why she opted not to visit Chennai, her hometown and former stomping ground. Our senior dancers and gurus would have walked out in rage. Beatboxing rhythms interspersed with dance, film projection, capoeira and uber clean mudras! Sacrilege! Rama! Muruga! Siva Siva! All the Gods would be invoked to set right this ‘injustice!<br /> If only we can remember that our ocean waters meet many other shores. Dismantling this ‘smug’ rasa will release our wonderful city from the clutches of a pseudo conservative aura that continues to hover around it. <br />I am a dance-actor, mythologist and storyteller. I can be contacted at<br />anitaa.ratnam@gmail.com,Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-65033646976482892682010-09-20T22:03:00.000-07:002010-09-20T22:04:07.798-07:00Karma Chameleon - An ode to India's new danceAmidst a flurry of preparations for the Commonwealth Poetry Showcase, I find myself teary eyed by the devastating imagery of women’s voices from Nigeria –the country designated to me for a performance.<br />The raw and ravaged images cascade forth - baby brides , bloodied diapers, a polygamous moon and the Mahapralaya of the final horizon. Nobel Laureate Wole Soyinka and his colleagues have given voice to this African country’s beauty and squalor. For those of us who know of Nigeria as the source of email scams, the imaginative words and determination of Soyinka, Achebe and others comes as a gorgeous gift. <br />I have just completed a lengthy article on the valid presence of contemporary Indian dance for a publication. While writing the piece, I was torn between the struggle of the young artistic dance makers and their constant collision with the smug condescension of the classical community who conveniently call their work “contemporary” . While India’s modern dance remains an urban activity, pushed into a marginal hole for the elitists who are impatient with the linearity and posturing of classical dance today, the new dance makers are also guilty of convoluted hyperbole and twisted tongues in their description of their work. Just read through some of the new vocabulary that precedes these contemporary dances and you will be left confused with the gratuitous and self indulgent allusions that never manifest on stage. It is a tough call to make but my vote is for contemporary dance and its further development in India.<br />With this statement, I also welcome two dance festivals INTERFACE by Sapphire /Sudarshan in Kolkatta and IGNITE by Gati/Anusha in New Delhi. Both events are finally focusing exclusively on assessing contemporary dance in India and the diaspora. One is happening as I write this and another in November. The points of concern as those that were raised by PULSE editor in London, Sanjeevini Dutta. After the third session of Unlocking Creativity (UC3) she has felt that the signature markers for South Asian/Indian contemporary dance are yet to evolve. Unlike Taiwan’s Cloud Gate Theatre which has synthesized Chinese philosophy into a seamless blurring of their modern performances, South Asian contemporary dance is still too enamoured with the western model that is easily available for training. However, with most Indian dancers trained for longer periods in their classical dance forms, this hurried modern training never quite ‘digests’ easily into a complete and convincing vocabulary. Only time will tell. <br />Until then, I congratulate Anusha, Sudarshan and all those bright men and women who continue despite the state ignoring them while western presenters have finally woken up to the potential excitement and thrill of modern India through the words of Daksha Sheth, Tanusree Shankar, Sharmila Biswas (neo classical) and Veenapani Chawla. For the first time, the classical dance component with Malavika Sarukkai, Madhavi Mudgal and Alarmel Valli find themselves in the minority. <br />Congratulations to the luminous Madhavi Mudgal for the glorious tribute in the New York Times for her artistry. Bravo to all our superb dancers and actors who work tirelessly to perfect their craft and remind others that it is these soft skills that distinguish us in a world of machine and raw power.<br /><br />Enjoy.. sweat.. drink.. eat.. laugh.. DANCEAnitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com1tag:blogger.com,1999:blog-7274782343702081373.post-6680757785204775472010-09-13T00:07:00.000-07:002010-09-13T00:10:28.786-07:00God is gender neutralGod and I - Expresso Saturday September 11, 2010<br /><br />For Anita R Ratnam dance is her prayer<br /><br /><br />What are your spiritual beliefs?<br /><br />I pray, but not on a regular basis. As a dancer, I worship <br />my body and treat it as my temple. It is with daily cleansing, breathing, exercise, sweat and hard work that I practice the ritual and religion of life. I worship through dance. <br /><br />I try to use prana as taught by healers, my yoga teacher of 15 years, Sri Nandakumar and my gurus, to listen to my atma and protect the bubble of laughter that is inside of me.<br /><br />What is your understanding of God?<br /><br />God is gender neutral. God lives in my 95-year-old grandmother's smile and my mother's luminous eyes that stare back at me from a photograph hung on a wall. God can be kind and cruel and is not responsible for everything that happens on earth.<br /> <br />What are your spiritual practices?<br /><br />I undertake a two week liquid cleanse or a weekend fast to cleanse myself. I try to watch my dreams and note them down because I am most creative at night. I rise at 5am and visit my home puja space where I read, think and argue with Krishna who smiles back at me. Like dance, God is not just a good friend but also a lifelong companion who will see you through all your highs and lows.<br /> <br />Do you visit any pilgrimage place?<br /><br />I visit my ancestral village in Tirukurungudi. The place has a magnificent Vishnu shrine and is home to the only all female theatre troupe in the country. It is also the subject of my PhD thesis. Given a choice, I would visit temples daily, sit in a corner and absorb centuries of civilisation through the stories of the stones.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com1tag:blogger.com,1999:blog-7274782343702081373.post-85965754875812209922010-09-10T23:05:00.000-07:002010-09-10T23:07:44.530-07:00A Silent Rebel Against ExtremismThe gritty Leela Samson has proved all those who doubted her <br /> wrong after assuming the top spot at Kalakshetra. Now also at <br /> the helm of other cultural bodies, Anita R Ratnam finds she <br /> has her work cut out for her All around me were t r admiring <br /> whispers about her talent. Also swirling r overhead were the s <br /> comments of caste and r community. "She is not a one of us, so <br /> how can she r truly understand", was an oft repeated phrase, t <br /> something that Samson has collided against<br /> When the news of Sangeet Natak Akademi's new chair person was <br /> announced last month, it would have hardly made a ripple and <br /> would have possibly been buried on page six of the daily paper <br /> if not for the individual who had been selected for the <br /> position -Leela Samson. For 40 years, this quiet and <br /> determined woman has stayed the course and followed her <br /> passion -with grit and grace. In her 60th year, she assumes a <br /> position that is both powerful and crucial for India's image <br /> in the world of changing tastes and increasing cultural <br /> incoherence. <br /> The reader may ask, "What is the Sangeet Natak Akademi?" It is <br /> India's premier apex cultural body that was established in <br /> 1953 by the first President of the country, Dr Rajendra Prasad <br /> in New Delhi's Parliament House.<br /> Now registered as a society, the Akademi, widely referred to <br /> as SNA, has been headed by cultural and political giants like <br /> Indira Gandhi, Kamaladevi Chattopadhyay, Girish Karnad, KPS <br /> Menon and Bhupen Hazarika. <br /> The more pressing question on many minds is "Why was Leela <br /> Samson chosen to head this prestigious institution?" Samson's <br /> pedigree may not resemble that of a typical bureaucrat, but <br /> her distinguished career has pushed her step by careful step <br /> to this moment. Her Facebook profile photo shows a relaxed <br /> graying woman embracing her two dogs who loiter in and out of <br /> her office on the Kalakshetra campus; a thoughtful speaker, an <br /> insightful writer who wrote a monthly column, The Still Point, <br /> in New Delhi's First City for almost 10 years, a beautifully <br /> controlled dancer and a silent rebel against all kinds of <br /> extremism, Samson is now in the proverbial hot seat. The last <br /> woman head of the SNA was dancer Sonal Mansingh who was unable <br /> to complete her five-year term during the BJP government. That <br /> another dancer, and that too, a woman would once again be <br /> appointed as the head of this most coveted cultural `gaddi' <br /> came as a surprise to many. But upon closer inspection, we <br /> learn that Leela Samson was always someone who was regarded <br /> very highly by the corridors of power. A former guru of <br /> Priyanka Gandhi, Samson has distinguished herself as an <br /> excellent teacher during her 30 years in New Delhi. Her <br /> students testify to her open-minded training methods and many <br /> like Justin, McCarthy, Navtej Johar, Anusha Lal, Aditi Rao and <br /> Anusha Subramanyam have distinguished themselves as classical <br /> and contemporary dancers. <br /> Leela Samson left Kalakshetra for New Delhi in 1975, the same <br /> year I joined the academy for my Post Graduate Diploma in <br /> Dance.<br /> All around me were admiring whispers about her talent and <br /> exceptional performance ability. Also swirling overhead were <br /> the comments of caste and community. "She is not one of us, so <br /> how can she truly understand", was an oft-repeated phrase, <br /> something that Samson has collided against through the years. <br /> Instead of buckling under these innuendos, she has used her <br /> Judeo-Christian back ground to give her both objectivity and <br /> clarity about Bharatanatyam rather than get ensnared by the <br /> semantics and infighting that c often plagues the classical <br /> community. At a recent conference in north America, I found s <br /> her chafing at what has become de rigueur c now, of pitting <br /> her guru Rukmini Devi against celebrated dancer Balasaraswati. <br /><br /> A multiple award winner at the national c and regional levels, <br /> Leela was a prime student of founder Rukmini Devi Arundale and <br /> I toured with the Kalakshetra troupe as one of the principal <br /> dancers for many years. Her s own aesthetic arc has revealed <br /> an austere r composure in her dancing and a surprisingly <br /> eclectic `optic' in her attitude to the arts. As f president <br /> of the Kalakshetra Foundation from 2005, she has quietly <br /> overseen a trans t formation of this seminal cultural space <br /> into a crucible for vibrant cross-pollination of the <br /> contemporary alongside the classical. Festivals, works in <br /> progress, modern Tamizh the r atre, discussions on classical <br /> and contempo s rary music, restoring musical legend MS <br /> Subbalakshmi's piano are only some of the a projects she has <br /> green lighted. Currently the l famous Koothambalam theatre at <br /> Kalakshet a ra is being renovated with upgraded lighting I and <br /> sound systems for the upcoming December season. i Also holding <br /> the position as head of the i South Zone Cultural Centre, <br /> which monitors folk and non-classical cultural activities in <br /> all the southern states, Leela now holds a third r and most <br /> prestigious baton as numero uno of i the SNA. As the 12th <br /> chairperson of this national body, she will oversee the manage <br /> i ment of a large budget from the Human c Resources Ministry <br /> that dispenses grants, scholarships and support in the areas <br /> of a dance, music, theatre, tribal, folk, ritual/tra t <br /> ditional arts and puppetry. The SNA also organises festivals, <br /> workshops and has sepa t rate departments for publication and <br /> docu t mentation as well as a library and a proposed museum of <br /> the performing arts in New Delhi. o She will have to manage <br /> the multiple activi s ties of the regional and zonal centres <br /> of Kathak, Koodiyattam, Chhau and Sattriya dance styles. She <br /> will supervise the animated discussions of the annual SNA <br /> awards which are the most prestigious arts honours in India. <br /> The many SNA committees delegated to the various branches of <br /> the performing arts are comprised of artistes and not <br /> bureaucrats. <br /> Indian performing arts were always the shining international <br /> ambassadors for a country seemingly in the perennial grip of <br /> poverty and want. Maharajas and classical dancers were our <br /> poster boys and girls until corporate India and Bollywood <br /> burst onto the millennium scene. Today, India and all things <br /> Indian is the buzzword around the world.<br /> Young dancers and musicians are not seeking state sponsorship, <br /> having cracked the corporate need for constantly changing <br /> mindnumbing tamashas. There are fewer and fewer of the next <br /> generation willing to commit to a life in dance and music with <br /> monetary returns remaining a distant reality. How will the SNA <br /> grapple with the increasing mediocrity in the arts? How will <br /> it broaden its horizons to accommodate the present global <br /> reality of technology and the popularity of self-published <br /> bloggers, media managers and You Tube podcasts? Bharatanatyam <br /> and Kathak, now global dance forms, have found excellent <br /> practitioners outside India and dance academia are flourishing <br /> outside our shores.<br /> Infrastructure for India's performing arts is dismal. Lack of <br /> trained managers, agents, impressarios, interlocutors, <br /> writers, critics, echnical personnel, a performance network, <br /> ehearsal spaces -the list goes on. Leela Samson has her hands <br /> full. <br /> While cultural appointments are not egarded as prestigious <br /> postings by the Delhi bureaucrats, for a dancer to be in the <br /> driver's eat of such a large cultural institution has equired <br /> patience and resilience. <br /> Leela Samson has faced controversy while ssuming her current <br /> position at Kalakshet a. She will be severely tested again at <br /> the SNA. How will she juggle her appointment book in two <br /> cities? In the field of culture, the wo remaining culture <br /> postings in India are Chairman of the ICCR (Indian Council for <br /> Cultural Relations) which is Karan Singh's portfolio and head <br /> of the IGNCA (Indira Gandhi National Centre for the Arts) <br /> which Kap la Vatsyayan now holds. Then the next step -a Rajya <br /> Sabha seat. <br /> One fact is certain. Leela Samson's new esponsibility will <br /> severely curb her perform ng life. Her recent performance at <br /> Mumbai's NCPA may be one of the last we see of this ntelligent <br /> and dignified dancer. Her two suc essful ensemble productions <br /> Spanda and Charisnu are already inter nationally pplauded and <br /> perhaps her role as dance men or and choreographer may widen. <br /> At an age when many divas stubbornly cling onto cen re stage, <br /> Samson finds herself making a imely and graceful segue into an <br /> eminent position of responsibility, and simultane usly <br /> becoming the single most powerful per on on India's cultural <br /> map.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-24162926315991620492010-05-24T03:24:00.000-07:002010-05-24T03:25:35.373-07:00'Happiness comes after unhappiness'God is in the small things. In the smile of a new-born baby and in the gaze of my grandmother whose face is lined with a smile. I can’t see God everywhere. I feel Her in spaces small and large. <br /><br />What stops us from being sexy, as well as religious; materialistic, as well as spiritual; happy, as well as sad? We’ve forgotten that our Gods, Rama and Krishna, were princes and wealthy. They lived in luxury and their women, Sita, Kausalya, and Urmila were regal. Jewels, personal maids, expensive wardrobes and luxe living surrounded them. Ayodhya was a kingdom encouraging masculinity and war; Mithila, Sita’s home, encouraged education, world philosophy and equality between the sexes. <br /><br />We can hold on to faith and still live in luxury. We have a warped notion of spirituality and truth as being states of deprivation. In a society that’s aspirational, like middle-class India, one is seemingly from the West (material wealth) and the other homegrown (spirituality). We’re caught in this mire and coagulated confusion. <br /><br />Hanuman on my crotch makes me uncomfortable. Maybe Durga on my kurta or my sari pallu works for me. My body is my personal space and even God doesn’t need to validate my sexuality. To be open to adventure, to hold on to the bubble of laughter; never to despair and to remember anger and darkness — these are emotions cut from the same cloth from which beauty and harmony are woven. To be conscious of my breath and the feel of my feet on the pavement anywhere in the world. <br /><br />To be happy means that one has to also experience unhappiness. I can’t be happy anywhere like the yogis and gurus. I need my home, room, garden and rhythm to find my inner flame. I’m easily distracted and need to consciously focus and withdraw from external stimuli to remember that I have every right to be happy every minute of my life. <br /><br />Times of India, May 14, 2010Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-80652737893747835042010-05-20T22:15:00.002-07:002010-05-20T22:16:52.326-07:00Sisters of ImeldaWhat comes to mind when you think of the Phillipines? President Marcos of course. More precisely, Imelda Marcos and her famous penchant for extravagant retail therapy. I had a chance to meet a Marcos sibling and 14 of her very powerful friends during their recent tour of South India. The head of the country’s departments of Ballet, Music, publishing, education, textile design, museums and real estate were on a two week tour of South India. Mostly women and very very ‘uppah’ class, the luxury tour took them to temples, ayurvedic resorts, textile weaving units- all along staying inside their five star membranes. <br /><br />Their last two days brought them to Chennai and I had been requested three months in advance to be their window to the city. I had been repeatedly warned not to take them to any plebian outlet since their tastes were “very very high end”. With a prepared list of shops to help our local economy, I met them at the lobby of a local five star hotel. Immediately, all fifteen faces had one mantra on their lips. “Shop. We want to shop! Can we hit the stores now?”<br /><br />Aah! The magic of retail therapy for women throughout the world. And shop they did. Up and down Khader Nawaz Khan Road, buying all that fit their petite frames. I heard OOHS and AAHS from fitting rooms and the plastic was repeatedly swiped in store after store. A private showing of antique jewellery was another source of much amazement and bargaining. Lunch at Amethyst turned out to be another spree for gifts and all the store owners were left reeling in delight with the Asian typhoon that swept through their shops. Incidentally, Irene Marcos was the most frugal, belying all expectations of her famous mother. <br /><br />The group spoke about the vanishing of traditional Phillipine textiles and their cultural nuances with globalization and marveled at how Indian designers managed to navigate the fine lines of commerce and market demands. The enormous butterfly shoulders of their national costume, popularized by Imelda Marcos, had all but vanished from the Phillipine landscape and local weaving and crafts were also being threatened by cheap Chinese imports. One gentleman was specially interested in the connection between pre Christian Phillipines and South India during the time of the Pandya and Chola rule. Over a quiet dinner, they listened to guitarist Vedanth Bharadwaj singing songs of Kabir and Mirabai. Teenage Bharatanatyam dancer Sudarma Vaidyanathan dazzled and our famous curd rice with pickles closed out the evening as the favourite food.<br /><br />So who said power women were not like you and me? Shopping, bargains, jewellery, kids and home food. For this high powered group, nothing was lost in translation!Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-43314121948899417922010-05-20T22:15:00.001-07:002010-05-20T22:15:42.511-07:00A Rebel with a CauseWhat is the positive force of rebellion? In the words of renaissance humanist Rukmini Devi Arundale, it can assume two forms. One is the positive battling to change the existing norms of being and seeing. The other is a negative energy of being a rebel for its own self indulgent sake.<br /><br />Was Rukmini Devi a rebel? In her lifetime she was many things and perhaps a rebel the most. As her 106th birth anniversary arrives on the invisible February 29, Atthai (as she was widely known to her students and friends) had many ‘avatars’. Theosophist, animal welfare activist, dancer and politician (Rajya Sabha nominee twice and candidate for President of India). Known best for her founding the magnificent Bharatanatyam institution Kalakshetra in Chennai, dance history records her many achievements. Like Sri Aurobindo’s Mahashakti, she shattered many obstacles and paved new pathways for generations of men and women to access classical dance and music. I perused old photos of her riding the pyramids, walking the corn fields of the USA wearing saris, pants and hats with élan, conversing with European men and women with confidence and ease. This was in the 1930s, 40s and 50s, when a new India was being birthed and an entire generation was filled with the ambivalence of hope and uncertainty. <br /><br />Accused today of ‘sanitizing’ Bharatantyam by removing the overt eroticism in the traditional repertoire, Rukmini Devi’s recognized the potential of classical dance to be the symbol of India’s cultural and spiritual regeneration. Schools, weaving centres, organic farming, painting, music and dance were all complementary activities in her master plan for the development of an artiste.<br /><br />Marrying a foreigner many years older to her was the source of societal outrage but she did not wilt. Neither did she flinch when faced with a recalcitrant nattuvanar(dance conductor) at the last moment. She vowed and accomplished the feat of training and establishing the first female nattuvanar for Bharatanatyam- the late Kamalarani. The dance orchestra being seated to the right of the dancer rather than walking all around the stage was also her conscious design to present classical dance to the new generation of modern Indians. <br /><br />My years at Kalakshetra in the mid seventies were eventful with Atthai walking by occasionally and causing a flutter with her regal presence. Being the tallest in my class (as always) I was suddenly asked to play the part of Kausalya in Rama Vanagamanam, the second in the Ramayana series. Playing Sumitra was Preetha Reddy of Apollo Hospitals. Imagine the two of us, playing mothers to senior dancers like Janardhan Sir and Venkatachalapathy. The rehearsals were stressful since I could never sit in deep enough araimandi to satisfy Atthai. Rukmini Devi also suggested to my mother that since I had the makings of a very fine dancer, that I should not perform often while studying at Kalskshetra. My mother refused outright saying that the life of a performer was very short and while I was capable of studying and performing, she would continue to plan my dance outings. Aah! Those were the days!<br />Men in dance, theatre designs for the performing arts, costuming, group choreography and of course her seminal Ramayana series are only some of Rukmini Devi’s achievements. Like most pioneers, Atthai was sad and isolated in her final days, distraught over the bitter tussle for control over her precious dream, Kalakshetra. Like another radical thinker Osho, who died alone and dispirited, Rukmini Devi’s dream seemed in jeopardy. Thankfully, the storm has passed and a new vibrancy has returned to Kalakshetra, The Osho ashram in Pune is now a swanky spa and holistic retreat far removed from the original aims of its brilliant founder. Kalakshetra remains a centre for alternate thinking, creativity and training. This rebel did indeed have a valid cause.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-17399241122088095992010-05-17T04:41:00.000-07:002010-05-17T04:42:12.041-07:00A life in the spotlight: India Today - Latest Breaking News from India, World, Business, Cricket, Sports, Bollywood.<a href="http://indiatoday.intoday.in/site/Story/91720/A+life+in+the+spotlight.html?complete=1">A life in the spotlight: India Today - Latest Breaking News from India, World, Business, Cricket, Sports, Bollywood.</a>Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-10713136767800058582010-05-16T22:26:00.000-07:002010-05-16T22:28:03.794-07:00The New Golden TriangleFOR many reading the title, memories of India's famous poster of DelhiJaipur-Udaipur may come to mind.<br />Others may recall the phrase that emerged in the seventies during the Vietnam war about the areas of Thailand, Cambodia and Vietnam for the drug, sex and narcotic underworld trade. I am referring to neither but the emerging area in our own backyard of southern Tamil Nadu -Trichy , Tuticorin and Tirunelveli. <br />I am not mentioning Madurai or Coimbatore, which emerged two decades ago as Tamil Nadu's mega growth centres. Today , the three Ts represent the aspirational and assertive face of our state. Money, trade and ambition are soaring among the younger generation who think nothing of flying to Chennai to party , pay cold cash for jewellery, fancy luggage and saris. Like the farmers of Punjab who travel to Delhi's Louis Vuitton store with cash-filled suitcases for the branded bridal luggage collection costing almost Rs 40 lakh, "the times they are a changing." <br /><br />Walk into the best hotel in Trichy and ask the chef to whip you up an egg white omelette with multi grain bread and voila! It comes with a flourish and and a smile. Great tasting veggie sandwiches and old world bakeries serving nankhatai biscuits, Japanese cakes and cream puffs are standing tall amidst temple gopurams. I can still find my favourite `panneer soda' in a small shop opposite the temple mutt. Though these towns are best known for their religious and cultural landmarks, national brands are locating these new lucrative markets. <br /><br />Trade, commerce, philosophy and culture have always been nurtured by the banks of the Cauvery and the Tambarabarani. Musicians, dancers, priests, thrived under the patronage of wise rulers. Today , parties, private jets, fancy cars and branded diamond watches are the norm for the affluent in these emerging towns. Thousands of phirangs crowd the ancient temples in the surrounding areas of Trichy and Tirunelveli while the new India is thronging the hotels and malls -the neo temples of today . <br /><br />I travel often to all three cities and have been amazed with the change over the years. The sari brands of Pothys and RMKV hail from Tirunelveli and so do many other successful retail names. Trichy and its suburbs has become the centre of many new universities offering alternative courses in the performing arts, philosophy and culture. The best of Tamizh folk and martial arts are still being practiced in this geographical `trikona'. So city readersstop being snooty , lower those Dior sunglasses and take note. This is the new golden triangle of our state.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-33815002848114377302010-05-14T23:42:00.000-07:002010-05-14T23:43:16.394-07:00Where are the Cultural Warriors ?Where are the cultural warriors? Where have they gone? Have they abdicated their responsibility of being the prism to sift artistic responses and give the reading and viewing public an objective dimension of the arts? <br /><br />I speak of the much talked about group. The liberals. The custodians of culture, the people who serve as stewards of civilization and mentors to the next generation. They who maintain the pathways into knowledge and taste- the school curriculum, cultural institutions, and cultural pages in newspapers and magazines – guarding them against low standards, ahistoricism, vulgarity and trendiness. If the pathways deteriorate, don’t blame just kids and parents too much. Blame, also, the teachers, gurus, writers, journalists, intellectuals, editors and curators who will not insist upon the value of knowledge and tradition, who will not judge cultural novelties by the high standards set by the past practitioners of art, who will not stand up to the adolescent announcements like “It is time to put away the past. It is childish to look backwards”. It is they who have let down the society that entrusts them to sustain intelligence and wisdom and beauty, and they have failed the youth who can’t climb out of adolescent behaviour on their own.<br /><br />The well known story of Rip Van Winkle is very relevant at this time. Asleep for twenty years, Rip wakes up to a changed America where the new leader is a President and not the Englishman and the new system is democracy and not colonialism. Rip struggles with the seismic shift in values and attitudes and fails in negotiating the new power structures.<br />Gurus of knowledge are grappling with the new society where students are unwilling to be scolded and lectured to without a reasonable back up explanation. Attention spans are short and earning opportunities aplenty for the youth. Information is everywhere and tech savvy teeenagers are turning the tables on their seniors who have crowned themselves.as the venerated untouchables.<br /><br />In the sphere of dance, we had the most prestigious national awards announced in February and nobody even noticed. The media paid no attention and only clamouring from the artistic community forced the media to carry small reports buried in the back pages. Granted, dancers have done it to themselves with holier than thou attitudes and over reacting to any criticism from the most senior and balanced of critics. Pages for the arts have shut down. Dancers and their cronies are to blame. Meanwhile we have an explosion of teaching, learning and performing. But what kind of dance are we seeing? What is classical, neo, modern, contemporary, experimental? Who knows as new avatars are created everyday. We now have Accro-Natyam, Cabaret Natyam, Military Natyam, Cine Natyam, Sufi Natyam, Neo Natyam, Yesu Natyam, Eelam Natyam Everything but Bharata Natyam the way many of us learned it decades ago. Should it be changed? OF course it will, whether you and I like the change or not. <br /><br />I return to the question of standards and how we judge the best from the rest. Not sheer numbers in the audience or the quantity of performances. Popularity does not always equal excellence. However, as the medieval Spanish priest says in his seminal help book written secretly in the 12th century, <br /><br />Let us not imitate Rip Van Winkle and wake up too late, look around the moan for what we could not delayed or resisted. Let us speak, write, argue, shout, lecture and talk about what we really care about. Excellence in dance. Nothing else will do.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-27711951896338137912010-05-14T23:08:00.000-07:002010-05-14T23:12:56.425-07:00The deep SouthThe small airport displays the sign “Welcome to the Southern Belle of the Georgia Coast”. Porters and airport staff greet you with a broad smile and the drawl,” Hi Ya’al”, made famous by the city’s famous celebrity chef Paula Deen. This is Savannah, Georgia, America’s first planned city and founded by British General James Oglethorpe in 1733. He organized the city into 24 beautiful squares and was so enchanted by its climate and beauty that he requested King George of England to gift him Savannah as a Christmas present.<br />That was then and I was returning to Savannah to visit my son who is a student of its famous SCAD university,(Savannah College of Art and Design) one of America’s newest and hottest colleges for new media and cinema. Warm and friendly, Savannahians are proud of their city and the small but beautiful city has many places to visit, shop and dine. In fact, it is a treat to walk around downtown Savannah, by the river where local chocolate and home made fudge factories churn out many varieties of the gooey stuff round the clock. Savannahians are hospitable and eat breakfast, talk lunch and think dinner.<br /><br />I am considered thin in Savannah, so you can imagine what the average sized woman looks like. The smallest sizes used to be US 10 until migrants from New York and Boston started moving South and buying up property in this scenic city. Once famous for its cotton and slave trade, Savannah is considered America’s most haunted city, a large part of its built over graves. The best shopping and dining areas in Savannah are centred around the Historic District with West Broughton Street as its shimmering spine. <br />Breakfast in Savannah means a stop at Clary’s Café where the pancakes, Southern fluffy biscuits and warm gravy see a long queue from 7 am. Stroll along West Broughton to the Honey Bee which stocks over 30 varieties of American honey and sip a cup of tea while tasting honey from an actual honey comb. A few stores away is the iconic Savannah clothing store Gaucho, run by Ross and his cheerful aide Dee. Together they have made the store a one stop elegant destination for silk jackets, resort wear and exquisitely original pants and tunics. Nearby is Inge’s Casual Elegance, run by German born Inge, who is a paragon of chic herself, advising my daughter Arya and me on the perfect summer dress. Continuing on Broughton you come across BluBells, an original Savannah store which stocks vintage clothes like Gucci and Armani coats and jackets from the 1970’s. Flanking Blue Bells is the quirky cosmetic shop called See Jane which hosts some excellent but lesser known brands like Julie Hewitt ( she did the make up for Pirates of the Caribbean). On the other side of BluBells is the gorgeous boutique called American Craft. Here you can pick up one of a kind wearable art. This is my one stop to collect hand painted jackets, tops and long scarves. Very pricey but every piece is a head turner.<br /><br />A new French bistro has opened on West Broughton but those who prefer the active lifestyle gravitate to Kayak Café also located on West Broughton, which serves up a variety of healthy vegetarian and vegan sandwiches. Evenings finds the party goers filling up the popular Jazzed, a tapas bar that is all out fun with great food, music and ambience. A short walk away to the City Market area and you can find a store called Taste of Georgia where you can taste and purchase light Georgian wine for all palates.<br />Sidestepping all the carriage tours and trolleys that trundle along the main roads of downtown Savannah, you can sit on the bench that Forrest Gump made famous in the movie of the same name or be told where Robert Redford has just wrapped up filming his new movie The Inquisitor on John Wilkes Booth, the man who assassinated President Lincoln.<br /><br />Fine dining abounds in Savannah, with several top rated Michelin starred restaurants. The most pricey and well known is 700 Drayton, attached to the plush Forsyth on the Mansion Hotel. The entire atmosphere and menu are so elegant and the ambience so exquisite that the very air reeks of class. Other well known and excellent dining venues are Sapphire Grill and Lady and Sons, the last being owned by restaurant diva Paula Deen. However, if you are looking for good old Southern cooking then it is only at Mrs Wilkes, a simple place where diners sit shoulder to shoulder and order from a fixed menu of friend chicken, potatoes, spinach, collard greens, biscuits, deep fried catfish and barbecued ribs saturated in butter and cholesterol laden fats. <br /><br />Even as the high priced brands like Marc Jacobs, Prada and Gucci open stores in Savannah, the managers all know each other by their first name and customer service is superb in this friendly town. Do not be surprised if anyone stops to have a conversation, offer a piece of advice or tell you where to get the best haircut. Everybody knows everybody in Savannah and they are proud of it. Remember that this is the city of the famous book and movie ‘Midnight in the Garden of Good and Evil” and the mercurial cabaret performer Chablis actually exists.<br /><br />Today Savannah is a delight to visit, especially for me, having lived in busy and bustling New York for so long. I have always found something unusual to buy in this city including the original SCAD Design Store, affiliated to the university where the fashion design students exhibit and sell their creations. The nearby Gryphon Tea Room reminds me of Southern style from the days of Scarlett O Hara in Gone with the Wind. I have spent so many hours strolling by the river licking a fresh home made sorbet from one of the local ice cream vendors. Over the past four years, I have made many friends there and will be sad to see my son graduate and pack up from this quaint and unusual city that is one of the top 10 tourist destinations in the USA.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-54902116853372821682010-05-14T23:07:00.000-07:002010-05-14T23:08:11.999-07:00Gyrotonics and the dancing bodyWaiting amidst several dancers to step onto the stone platform under the quiet gaze of the Nandi bull, I watched a young couple complete their dance offering to Lord Siva at Tanjavur. The Bangalore based duet presented what I would call Dance Gymnastics. Leaping, twirling, swirling, deep plies and knee bends executed with breaking a sweat and with aplomb. The audience loved their presentation and the hapless classical dancer who followed them appeared lacklustre although her performance was quiet and dignified. <br /><br />If you are a dance lover and type in ‘Bharatanatyam’ on You Tube, a plethora of links emerge like the proverbial Hanuman’s tail. Hundreds of thumbnail suggestions pop up. While there is a gamut from the banal to the brilliant, you will notice increasingly fit dancers attacking the stage with a frenzied energy. There is a new athleticism in classical dance fueled by the urban culture of the glam size zero Goddess, fashion catwalks, aerobics and power yoga workouts. Fat is out and generous Ajanta hips are unacceptable for today’s audience. Ask New York based contemporary dancer Preeti Vasudevan who is a fan of Gyrotonics, a fitness system that twists, crunches and squeezes your core muscles into superb shape <br /><br />A few days ago a national weekly interviewed and photographed me for a special on Health and Wellbeing. The title suggests that ‘fitness‘ as a word has been replaced but not the urge of the woman to remain toned, sleek and sexy. I decided to allow the photographer to capture me at my most vulnerable – track pants, crumpled t shirt, sweaty face and ponytailed hair – working with my personal trainer Deepak and my yoga instructor Sri Nandakumar. An imperfect body placed alongside a performance photo of my latest solo production MA3KA will tell the entire story. As dancers we are all vulnerable, walking that knife edge between appearing like “Goddess Mamis” and real women. Training in classical dance alone does not prepare today’s performers for the vast stages and the expectations of the audience who think on their toes. Lyrics, silence, musicality have all succumbed to the relentless assault of rhythm. Dance is now an Olympic sport and dance marathons on TV are subtly influencing the way a ‘rasika’ watches a classical performance. Gyms have ‘Dancercise’, Bollywood workouts and Bhangra groove routines while ashrams have ‘Mystic Dancing’ as a way of unwinding the lazy urban body. Nutrition, fitness and diets for dancers are being carefully planned and followed. Like sports and celebrities, dancers will soon travel with their trainers, yoga instructors and nutritionists. <br /><br />The old ways of imparting knowledge from guru to sishya are being ruthlessly dismantled and a new template for preparing the dancing body is emerging outside the classroom. After all, dancers are the ultimate athletes of body and spirit.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0tag:blogger.com,1999:blog-7274782343702081373.post-85431477121648320702010-05-14T23:06:00.000-07:002010-05-14T23:07:01.509-07:00The return of the Uttara YogiAlmost exactly one hundred years ago, the steamship SS DUPLEIX cast anchor near the town of Pondicherry. Waiting on land were a group of revolutionaries, among them, Tamilnadu’s most celebrated voice of resistance, poet Subramania Bharathi. The eager reception committee had anticipated this moment for thirty years. Alighting from the vessel was one of the world’s most radical and brilliant new age thinkers – Sri Aurobindo. Then known as Aurobindo Ghose.<br /><br />It was April 4, 1910 to be exact. That was the date that Sri Aurobindo, aged 38, came to South India from Bengal and began his great experiment in international living we now know as the Aurobindo Ashram and Auroville. His writings through journals, diaries, books and speeches flowed like a torrent through the monthly publication ARYA. Forced into a western education by his father, Aurobindo Acroyd Ghose as he was initially named, heard the inner call (aadesh) through the mystical form of Lord Krishna. In Calcutta, Nobel Laureate poet Rabindranath Tagore bowed before this young man exhorting him to speak out for all enslaved Indians. A freedom fighter who was jailed for his seditious activities against the British in Calcutta, Aurobindo came to Pondicherry four years before he met the Frenchwoman Mirra Richard, later known as THE MOTHER. She had also been guided to India by the vision of Krishna and immediately found empathy with the young Bengali thinker. It was not until 1926, however, that the Aurobindo Ashram was founded with 1500 spiritual disciples. <br /><br />Almost 30 years prior to that momentous landing in 1910, a group of radical freedom fighters and their wealthy patrons had heard a prophecy that a UTTARA YOGI, a mystic from the north, who would arrive in South India to liberate the minds and bodies of colonised Indians. One among these was my own great -great grandfather Kodiyalam Vasudeva Iyengar, the proud landowner of Kodiyalam village, near Mannargudi, Tamilnadu. <br /><br />So many connections were made one recent evening at a Chennai bookstore, when writer Arup Mitra released his book UTTARA YOGI. A work of fiction, the book parallels the actual historical events of Sri Aurobindo’s life and shares remarkable moments of struggle, sacrifice and ultimate inspiration. That we go through our lives as puny Davids (Vamana ) when we have the capacity to attain the status of Goliaths (Viswarupa) is the subtext of the book.<br /><br />UTTARA YOGI is far superior to any of the self help books that line store shelves today. It does not spout smart sound bites but instead reveals the real life, sacrifices and selfless inner struggle of a genius who became a seer of Dakshina Bharat and whose foresight about India and her humanity is a timely reminder for the next generation.Anitahttp://www.blogger.com/profile/03991300070797884577noreply@blogger.com0