Should I say something new on world dance day and if new, what should be that! When I was thinking suddenly a poster flashed in my mind. In the year 1966 leading Odia film maker and actor Goura Ghosh make a film “Kaa” based on the novel of Kahnucharan Mohanty. In the film poster […]
"In the video, Padmini, one of the most renowned Bharatnatyam dancers of her time, demonstrates all the navasrasa (nine rasas), except bībhatsa (disgust; I am not sure why?), starting from 1:19 minutes into the song. She also demonstrates several vyabhicāri bhāvas such as moha (confusion), bhakti (devotion), rati (desire; actually a stāyibhāva, TWW), harṣa (joy), autsukya (longing), etc."
We list Bollywood's highest paid actors from Ranbir Kapoor, Salman Khan, SRK and what powers them.
"On the condition of anonymity, a top choreographer who has worked on some sizzling item numbers, says, "In the 90s, choreographers were referred to as dance directors, who handled the choreography of the entire film for a meagre Rs. 5000. And they were not as demanding as choreographers are today." The concept of appointing a dance director, who would choreograph for the entire film, ended in the late 90s. "In 1997-98, with the onset of Khiladiseries, film-makers started signing Ahmed Khan, Saroj Khan or a Ganesh Acharya to direct one particular song each, in a film. [...] Trends changed when sizzling numbers like Kajra re (Bunty Aur Babli), Ishq kamina (Shakti The Power) in the early 2000s, choreographers were hired on a song basis..."
She is a great exponent of Bharathanatyam, and he a very famous cartoonist. Got married in June 25, 1954, but the marriage did not last, and ended in disaster! The lady had danced her way into millions of hearts of Indians and because of her everlasting youth, she had the prefix "Kumari" before her name. She had danced in many movies both from Mumbai and Chennai and presently she lives in New York, US, teaching the children of expatriate Indians dances, especially her bani of Bharathanatyam...
"Four prominent Tamils in the US who had reached the zenith in their chosen field were bestowed with Tamil Ratna Awards. The awardees are Bharathanatyam exponent Padma Bhushan Kamala Lakshman who strode the film industry and dance stage like a colossus for fifty years..." (September 2013)
"Roshan Vajifdar, celebrated Bharatanatyam exponent of yesteryear, now leads a quiet life in Kodaikanal...Roshan has also peeped into the film world. She gave a dance performance with her sister in the 1954 Kishore Sahu film “Mayur Pankh” to the famous duet by Lata and Asha, “Yeh barkha bahar soutaniya ke dwar…” Her beauty and talent fetched her many acting offers but she declined them all."
"There have been many movies that have come to the silver screen from the early years of the Indian Film Industry, which are partly musical to highly classical. No language has been an exception to this. However, just as a starter, here are 10 movies that this pen thinks of to list as a recommendation to our readers. If not a comprehensive understanding of what classical music is all about, it gives a glimpse, a brief peek at the glorious landscape of classical music."
"Sumathy has also choreographed classical dances for a number of Telugu movies."
Sunil Kothari in his book on Kuchipudi notes, "Sumathy Kaushal, a noted Kuchipudi exponent, and her elder sister Uma Rama Rao were the first among many young aspirants from educated class to take to dancing in Hyderabad...[She] has also given dance direction in Telugu films.” He also writes that Uma Rama Rao "has given dance direction in many feature films in Telugu.” Other than "Koluvai Unnade" from Swarnakamalam choreographed by Uma Rama Rao, I don't know the names of the these films that these sisters choreographed!
Recently held in Alliance Française by the same name, ‘The lost art of dance in Pakistani cinema‘ was an eye opening journey for any cinema-lover/media student/film critic. The low attendance of anyone from the media industry, however, was shocking. You would think that the people so interested in producing [...]
This dissertation undertakes a historical and theoretical analysis of constructions of gender and sexuality through popular Hindi film dance... I investigate the role of dance in the construction of the stardom of four iconic dancer-actresses from the 1930s to the 1990s: Sadhona Bose, Vyjayanthimala, Waheeda Rehman, and Madhuri Dixit..."
"For a dramatization of the ustād-shāgird relationship, watch the following clip from the film Umrao Jaan (1981). The film is an adaptation of Mirza Rusva’s 1899 novel of the same name (thought by many to be the first novel in Urdu). During minutes 29:00-37:00 of the video, Umrao Jaan (played by Rekha), a courtesan in training, receives islāh (poetic instruction/correction) from her ustād or teacher regarding a verse that she has composed. She then performs the same verse (and others) as a song, simultaneously dancing in the style known as kathak (derived from the word for ‘narrative’). Note: you may have to manually activate the subtitles once entering the Youtube site: https://www.youtube.com/watch?v=L3JwIRye_lE ..."
"Payyannur-based M. Sukumarji in his debut non-commercial film ‘ Kandethal’ has highlighted the emotional struggles of parents of runaway children. The film’s cast includes dance maestro V.P. Dhananjayan performing the role of a ‘guru.’ Mr. Sukumarji, who earlier scripted ‘Kalchilambu ,’ a film based on Theyyam, says his film is ‘spiritual’ because it delves into the inner-personal experience of the mother of a runaway child..."
"Descriptions of dance before 1930 give contrasting impressions regarding its status and the status of the audience. Rukmini Devi's biographer, S.Sarada, commented on the first occasion that she saw Rukmini Devi's performance in Madras in 1935: "I had never witnessed a dance performance before, as women from good families did not go out to witness them, either in the temples, or elsewhere." Greatly impressed by Rukmini Devi's dance and vision of it, S.Sarada was later to become an important teacher and dance notator at Rukmini's dance school, Kalakshetra. Not all high caste women were so sheltered. Rajam Iyer, a Brahmin lady living in Mayavaram, a town in Thanjavur district south India, prior to 1934, remembered a different attitude to the presence of women at dance recitals. She commented about her youth: "Whenever a dancer performed anywhere in Mayavaram I was sure to be there, in weddings and temple festivals." In 1934, Rajam Iyer's daughter, Kamala (Lakshman), was born and five years later, in 1939, danced on the concert stage, and in films. She immediately charmed South Indians, and became the darling of Madras.
"The Vempati brothers’ (Pedda Satyam and Chinna Satyam) consummate choreography in films was the exhibit under ‘Venditera Kuchipudi Velugulu’. Their work when viewed together, stands distinct for its credibility to make films a spring board for the development and propagation of Kuchipudi in and from a city like Chennai...."
"Q. Did you learn Kathak completely? A. Oh yes. And I remember whatever I have learnt. I used to brush up my learning with Gopi-krishna’s help. Q. You have performed Kathak with him in a film. Am I right? A. Yes. I have danced also with Auzurie and Sadhana Bose."
Excerpt: "Dance and music have migrated into Indian films and become an integral part of entertainment just as in Bharata's time. Except in a very few cases, however, dance, both folk and classical, suffered seriously. Each dance style taken up by the film industry began by being handled by experts in that style. All too soon choreographers who were talented but not devoted to that particular style made innovations, changed it, simplified it, and diluted it in an effort to make it more attractive or seductive and more easily entertaining to the untutored masses..."
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