World of Dance

https://sites.google.com/site/yogitakulkarnicom/

Fri, 19 Oct 2012 14:01:16 -0700

https://sites.google.com/site/yogitakulkarnicom/

Koravanji Nritya

Wed, 17 Oct 2012 18:15:02 -0700

Dance: A Means of Personality Development

Wed, 17 Oct 2012 11:33:00 -0700

Dance: A Means of Personality Development
The word ‘Dance’ denotes a movement; but, more elaborately, these movements are graceful. So, the dance in simple words can be defined as graceful movements. Yet the question remains that how to decide a movement to be ‘graceful’. This ‘grace’ is usually inborn, but it can be developed by practice. When a movement looks beautiful in the space, it can be called ‘graceful’.
Firstly, the dance begins with human body. So, it is important to know that it helps to shape up human body or physique. Especially, of a proper training is given in childhood, a person can build a proper physique and plus it affects his day-to-day movements, they become more confident and graceful.
Dance helps mainstream as well as differently abled children in many ways. In dance, all your sensory systems which are important in learning process, get activated. It increases a child’s concentration as in dance you have to be aware of many things like directions, music, movements, expression, co-ordination at a time. I helps to develop an ability of balance. When you dance, you forget about everything else and thus, it is a means of relaxation, at the same time you become more aware of your own body orientation. In any form of structural (classical) dance, you activate 90% of your vestibular cerebral stimulus (which is inactive otherwise) because it is minute to minute change in the postural awareness, balance and orientation of body in space. It gives you a different kind of confidence because the body conquers gravity and thus can do anything.
The training of dance helps the children in their academics. As their power of imagination and expression improves, they can express themselves capably in language. It helps them to improve or memorize the geometrical patterns because in dance they follow various geometrical patterns. They also improve in counting in mathematics. They become very presentable and free. Children are fast in grasping a movement, so, they can memorize many things through gestures or movements. Especially, if they are learning structural or classical form of dance, this can be done very precisely.
The kinesthetic memory is the foundation of your learning and dancing improves all your sensory systems. Since you have to follow the rhythm while dancing, it improves your auditory attention ability. When one dances, the right hemisphere will be very active musically and emotionally and thus, automatically it relaxes the dancer. For normal human beings, dance improves their visual concentration, heart and lung capacity, improves their imagination and controls emotions. They develop a good aesthetic sense.
For the differently abled children, you have to re-structure the dance. It works as a therapy for them. So, we can call it Therapeutic Choreography. If there is a problem in sensory integration, a child is hyperactive, has poor concentration and short attention span. He may have difficulty in left-right discrimination, poor orientation of his body in space and therefore, may have difficulty in learning in spite of normal and above average intelligence. In such cases, Therapeutic Choreography helps these children to a great extent. As dance needs dynamic balance, it improves body image. Through dance a child’s (who has learning difficulty) sensory system is activated and integration of all the systems is possible. All the sensory systems, vision, touch, kinesthetic vestibular have to work in rhythm while dancing. Therefore it improves sensory integration and concentration. Hyper-activity is automatically reduced and child’s performance in studies improves.
Differently abled children have poor body image, low form of the muscles, poor organization and motor planing. But, they have an extra liking for music. Therefore, dance plays an important role in improving their physical condition and learning capacity. Restructuring the dance according to the music and their capacity helps them a lot. A structural dancing gives them a sense of movement and installs in them a sense of confidence to move.

Indian Classical Dance: Retold

Mon, 17 Sep 2012 23:59:32 -0700

Indian Classical Dance: Retold
Indian classical dance, though in ancient times, was supposed to be a way of worship or the way to reach God, it is the greatest form of expression. It is interesting to know that when an Indian Classical dancer starts dancing, a prayer is recited which says, ” the whole universe be thy body, the whole literature, your speech, the moon and stars, your ornaments, I bow down to thy who is form of purity (expression). Now as this prayer is recited, it is nothing but a reminder call for an artist to pay attention to all four aspects of the performance that are, body movements, lyrics and music, ornaments and costume and the purity of expressions.
These four aspects, when learnt by an artist, are transformed into a full ‘performance’ or presentation on the stage. The body movements, for each classical dance style are different; but the goal of all is the same- decoration and accompanying the expression. Each and every part of artist’s body has its own importance in the portrayal of expression. The treatise on drama and dance (Nātyaśāstra) depicts the movements of each major and minor part of the body and it’s role in a particular expression. For example, in a pleasant expression, the body is lifted, hands and feet are more graceful, cheeks blown, lips open in smile, eye balls wide, eye brows active and so on. So that, the artist can rely on this technique while learning his first lessons of acting. Also,there is a unique way and speciality of Indian Classical Dance is Hand Gestures. These Hand Gestures are so elaborate that an artist can translate almost every word through them. (Other than art also, in normal life, it is fun to ‘talk’ or rather communicate through these dance gestures, especially for children). Though each dance style has its own technique of body movements, it serves the same purpose in all of them. The feet follow the rhythm, the hands and face follow the lyrics, translate the emotion and meaning and in the pieces which do not contain an emotion, (pure dance) it is eye-pleasing experience to see the dancer’s sheer joyful footwork and graceful body movements.
The second aspect is lyrics and music. The style, rhythm and instruments used vary from style to style. The lyrics are mostly composed about God, king or layman; in the language the style follows. Firstly, the introductory line is translated word to word through hand gestures and facial expressions. Then the lines are explained elaborately, adding other aspects of the topic and then appropriately, the story is woven in the elaboration. The line which is interpreted for the presentation of a story, is repeated as many times in a modification as the dancer performs. Generally in the compositions the dancer is supposed to be a heroine, and the hero, the God or a king in whose praise the composition is. The heroine is pinning for the union with the hero, and in this whole process her friend helps her who is supposed to be a friend, guide and philosopher.
As the dancer is supposed to be a heroine, the costume is in most of the dance styles, is of a bride. Almost all the dance styles follow the traditional shiny bride costume and rich combination of ornaments. The costumes are made of silk, satin or brocade and the ornaments of metal having pearls, stones or other beads. Though in ancient treatise on drama and dance (Nātyaśāstra), this third aspect includes the stage setting and property, in terms of dance it is concentrated on the dancer’s own costume.
The emotional expression is the most important part of all the dance styles. Most of the Indian Classical Dance styles are performed solo. The technique of body movement which is so elaborate has a role to play here. The dancer alone, while elaborating about a composition, plays all the characters. This provides a reason for a dancer to be spontaneous and change characters immediately. They have to be portrayed without changing attire and to be expressed solely through the body language. Also, there is no time to get into a deep emotion, as there is no time for one particular emotion to elaborate. That is why, the emotion with this unique feature is many a times expressed by a hand gesture and facial expression. For example, tears are shown by a sad face and hand gesture instead of actual crying.
All these aspects make Indian Classical Dance very interesting but at the same time it asks for hard work and continuity. A performer can’t perform without a proper training. The sudden changes of expressions have to be bold and yet convincing. This is only a glimpse of the art, there are many more interesting things in each Indian Classical Dance Style. It is colorful and widely diverse directed towards same purpose.

Indian Classical Dance: Retold

Sun, 16 Sep 2012 23:55:00 -0700

Indian classical dance, though in ancient times, was supposed to be a way of worship or the way to reach God, it is the greatest form of expression. It is interesting to know that when an Indian Classical dancer starts dancing, a prayer is recited which says, ” the whole universe be thy body, the whole literature, your speech, the moon and stars, your ornaments, I bow down to thy who is form of purity (expression). Now as this prayer is recited, it is nothing but a reminder call for an artist to pay attention to all four aspects of the performance that are, body movements, lyrics and music, ornaments and costume and the purity of expressions.
These four aspects, when learnt by an artist, are transformed into a full ‘performance’ or presentation on the stage. The body movements, for each classical dance style are different; but the goal of all is the same- decoration and accompanying the expression. Each and every part of artist’s body has its own importance in the portrayal of expression. The treatise on drama and dance (Nātyaśāstra) depicts the movements of each major and minor part of the body and it’s role in a particular expression. For example, in a pleasant expression, the body is lifted, hands and feet are more graceful, cheeks blown, lips open in smile, eye balls wide, eye brows active and so on. So that, the artist can rely on this technique while learning his first lessons of acting. Also,there is a unique way and speciality of Indian Classical Dance is Hand Gestures. These Hand Gestures are so elaborate that an artist can translate almost every word through them. (Other than art also, in normal life, it is fun to ‘talk’ or rather communicate through these dance gestures, especially for children). Though each dance style has its own technique of body movements, it serves the same purpose in all of them. The feet follow the rhythm, the hands and face follow the lyrics, translate the emotion and meaning and in the pieces which do not contain an emotion, (pure dance) it is eye-pleasing experience to see the dancer’s sheer joyful footwork and graceful body movements.
The second aspect is lyrics and music. The style, rhythm and instruments used vary from style to style. The lyrics are mostly composed about God, king or layman; in the language the style follows. Firstly, the introductory line is translated word to word through hand gestures and facial expressions. Then the lines are explained elaborately, adding other aspects of the topic and then appropriately, the story is woven in the elaboration. The line which is interpreted for the presentation of a story, is repeated as many times in a modification as the dancer performs. Generally in the compositions the dancer is supposed to be a heroine, and the hero, the God or a king in whose praise the composition is. The heroine is pinning for the union with the hero, and in this whole process her friend helps her who is supposed to be a friend, guide and philosopher.
As the dancer is supposed to be a heroine, the costume is in most of the dance styles, is of a bride. Almost all the dance styles follow the traditional shiny bride costume and rich combination of ornaments. The costumes are made of silk, satin or brocade and the ornaments of metal having pearls, stones or other beads. Though in ancient treatise on drama and dance (Nātyaśāstra), this third aspect includes the stage setting and property, in terms of dance it is concentrated on the dancer’s own costume.
The emotional expression is the most important part of all the dance styles. Most of the Indian Classical Dance styles are performed solo. The technique of body movement which is so elaborate has a role to play here. The dancer alone, while elaborating about a composition, plays all the characters. This provides a reason for a dancer to be spontaneous and change characters immediately. They have to be portrayed without changing attire and to be expressed solely through the body language. Also, there is no time to get into a deep emotion, as there is no time for one particular emotion to elaborate. That is why, the emotion with this unique feature is many a times expressed by a hand gesture and facial expression. For example, tears are shown by a sad face and hand gesture instead of actual crying.
All these aspects make Indian Classical Dance very interesting but at the same time it asks for hard work and continuity. A performer can’t perform without a proper training. The sudden changes of expressions have to be bold and yet convincing. This is only a glimpse of the art, there are many more interesting things in each Indian Classical Dance Style. It is colorful and widely diverse directed towards same purpose.

A New Beginning ( SaYog)

Sat, 15 Sep 2012 01:53:00 -0700

We are back with a bang!!!!!!!!! World of dance is proud to be a part of SaYog Dance Company. This dance company is collaboration of Ms Yogita Kulkarni who is a Bharata Natyam exponent living in Sunnyvale CA and moi, Sayali Goswami representing Kathak. So here is to new beginnings and new partnerships…….Stay tuned to know what’s going on at SaYog Dance Company. We will keep you all updated on our new productions and works in progress. Till then keep on dancing,

Sayali and Yogita

Directors ( SaYog Dance Company)

A must see event !!!!!!

Sat, 19 Nov 2011 11:26:05 -0800

A must see event !!!!!!

Sat, 19 Nov 2011 01:19:11 -0800

A must see event !!!!!!

Baby Steps in The World of Dance

Wed, 10 Aug 2011 19:00:05 -0700

When it rains ,it pours….. That’s the story of my life . When I began this new journey in the world of dance couple of weeks back little did I know things would not be as easy as I thought. I have been part of big productions , I also have the experience of working at logistical level on many of them. But its far easy to work on someone else’s preconceived idea and plan, then coming up with yours. My ever so creative mind which works overtime ( my husband says so) suddenly came to a halt when I decided to come up with an idea for my own production. This every mind helped many make their dream reality went on strike when it was my turn. All the ideas that came to my mind felt so mundane like’ been there done that’ kind. Is this what they call panic attack. So here is what my creative team and me came up after our very first brain storming sessions. We decided to not use the already told thousands of time stories or concepts. We are going to write or own life stories . Hmm that brings in a new problem for me… My creativity is still of strike, I seem to hate every idea that comes to my mind :( But hi there is a silver lining to every cloud … In all these new developments I had some personal victories. I got myself a personal trainer and am getting back to my best shape ever. Often we dancers forget how much we need that extra help in keeping our bodies in top shape. I am also getting an opportunity to work with children again. I always felt my creative best when I worked with children back home. Children are great inspiration and they also teach us to loosen up and live life a little bit. So am looking forward to my dancing sessions with them….And yep my resolution for the month of August is to be more regular on my Blog :)..baby steps at a time…

A new Journey Begins

Wed, 27 Jul 2011 12:56:34 -0700

I started my journey in the world of dance at a very tender age of 6. From then to now it has been a long journey of 23 years, and I still miles to go and lots to achieve. Like everyone else I have had my ups and downs. I wonder what would I have been if not a dancer? As a young child and later a teenager , dance for me was a mode of recreation. A hobby and nothing more. Never thought I would go professional. I would look forward to go to my dance classes to escape to the daily routine of school and homework and exams. It was not until I met my dance teacher Smt Uma Dogra, that I thought I had it in me be a professional. However for only someone who had only danced for her own pleasure, this transition was not an easy one. Like any other profession the world of dance has its competitive spirit. You have to be in your best shape,put in hours of practice and be at the top of your game at all times. It did take its emotional toll on me. Sometimes I just want to give it all up, since all my hard work was not mounting to much in comparison to all my friends who have chosen conventional profession. During these trying times my support were my family and my duet partner Sarita. We danced together but there was never a sense on competitiveness between us like many other duet partners. We complimented each other well and always played on each others strength and tried to compensate for each others weakness. People said we had amazing chemistry, but what we really had was a friendship and respect for each other which still going strong today ( she moved to UK and I moved to USA after marriage). After Sarita moved to UK I began to feel the lull again. I felt my dance had become mechanical and stagnated. I was getting to comfortable in what I had established for myself. I had my students and performed with my teachers troop in India and Internationally. I began to get complacent. Life threw me a curve ball. I had to relocate to USA after marriage and start from scratch. For the first year of my marriage I decided to take time off from dance. But as the year went by I realised I was afraid of starting from scratch. This time around I did not have my teacher or Sarita to advice on how to go about things. I began to find various reasons not to dance. But whenever I saw an amazing piece of choreography I would feel sad inside. I missed dance. This was my true test as a dancer. To survive outside my comfort zone. This new struggle has brought in a fresh breath of life into my dance. I discovered the creative side of me I thought I never had, like writing this blog which has been my connection to the world of dance for past few months. Now I am moving to create my vision through dance. I will be documenting each step I take for my readers. I have set a goal of putting together a extravagant dance production that will go on stage one year from now. You, my readers will be part of this journey. So wish me luck for my first brain storming session this evening with my creative team.

This video showcases Odissi , an Indian classical dance form...

Tue, 26 Jul 2011 13:13:16 -0700

This video showcases Odissi , an Indian classical dance form from the state of Orissa.It is the oldest surviving classical dance form based on archaeological evidence.

On the ocassion of Guru Poornima ( day to honor teachers), I would like to dedicate today's post to my Kathak guru Pandita Uma Dogra.

Fri, 15 Jul 2011 10:10:24 -0700

danceaddiction: Stage Rehearsal/Preview Footage - Nederlands...

Thu, 14 Jul 2011 03:20:37 -0700

danceaddiction:

Stage Rehearsal/Preview Footage - Nederlands Dans Theater II

Lieder eines fahrenden Gesellen - choreography by Jiří Kylián

Awesomeeee

Our destination today in journey around the world through dance...

Wed, 13 Jul 2011 12:58:41 -0700

Our destination today in journey around the world through dance is Haiti. The Rara Tou Limen performs “Rebirth”.Artistic Director/Choreographer: Portsha Jefferson. Musical Director: Daniel Brevil. Musicians: Guy de Chalus, Karen Kirschling, Taji Maalik, Josh Piagentinni. Vocalists: Gerlanda Gelin, Tossie Long, Lalin St. Juste. Dancers: Heather Easley-Kasinsky, Tamika Harris, Tracee Henson, Akua Jackson, Portsha Jefferson, Leah Kimble-Price, Halima Marshall, Shawn Merriman-Roberts Latanya D. Tigner, Laila Tov Perez, Shemica Watkins

Today we journey to Korea in our journey around the world...

Tue, 12 Jul 2011 12:41:18 -0700

Today we journey to Korea in our journey around the world through the medium of dance.Salpuri means literally to wash away evil spirits. Usually a mudang(shaman) presided over the process. Shamanism is a long-held tradition which emerged around the Three Kingdoms era. Salpuri was the climax of shaman rituals. Its representative by-product is the unique salpuri rhythmic cycle that has been adapted in other performing arts. Salpuri is prevalent in the Honam region, the southwestern part of Korea, in the form of ssitkimgut, the soul cleansing shaman rite.

My Inspiration… Mrs Madhuri Dixit Nene. When ever feel...

Sat, 09 Jul 2011 23:22:06 -0700

My Inspiration… Mrs Madhuri Dixit Nene. When ever feel like I have lost my passion to dance all i have to do is watch one of her dance videos.

Check Out This New Event In Bay Area California

Fri, 08 Jul 2011 15:02:05 -0700

Artist profile for July 10th, 2011 Program

Sunanda Nair

Sunanda Nair, is a name to reckon with in the field of Indian classical dance. She is an internationally recognized dancer in Mohini Attam, Bharata Natyam and Kathakali and is the disciple of the noted Mohiniattam exponent Padmashree Dr.(Smt)Kanak Rele. She has prepared for her vocation both as a professional dancer and a teacher of dance, through rich and multifaceted experiences in higher academics, stage performances, classroom instruction and choreography.

Sunanda Nair has been a part of many very reputed national and international festivals, and has won high acclaim from critics and connoisseurs of dance for her impressive dancing skills and recently had the privilege of dancing at the world famous Carnegie Hall , New York. She is trained in Bharata Natyam under distinguished gurus, Kalaimamani Kadirvelu, Kalaimamani Mahalingam Pillai, Guru T.V.Sounderajan, Shri Deepak Majumdar, Smt.Tejiswini Rao and lately “The Dhananjayans“, and Guru C.V Chandrashekhar, Chennai. She had her initial training in Kathakali under Kalamandalam Krishnankutty Warrier.

Sunanda, is an empanelled artiste of the Cultural wing of the Govt of India, Indian Council for Cultural Relations and an outstanding artiste of Indian National television.

Sunanda is also the recipient of innumerable awards the “Singar Mani”, “Natya Mayuri”, “Kalsagar” , “Abhinaya Shiromani” to name a few.

Arun Gopinath : Vocal

Bharathanatyam and Mohiniyattam.

Arun started his basic lessons in music from Shri. Sreedharan Namboodiri at a very young age. He continued his education in music from Bhagavathar Shri. Parameswaran Nair for 10 years. Then he attained further education in music from Bhagavathar Shri. Parameswaran Menon for 3 years. Presently he continues his music lessons from Mr. V.R. Dileep Kumar, and has obtained Ganabhushanam in Violin from Chembai Music College. He passed his M.A. in Music with 2nd rank from Kannur University and has performed for more than 500 reputed stages for Classical Concerts and Abhinaya Sangeetha for

Kiran Gopinath : Mridangam

Kiran started his Basic lessons in Mridangam from his Father, Shri.Kalamandalam Gopinathan at the age of 9. Then he started his Academic education in Mridangam from Kerala Kalamandalam and B.A. and M A in Mridangam with (1st Rank) from Chembai Music Collage, and R.L.V. Music Collage,Tripunithura .Apart from Mridangam he is an exponent in other rhythm instruments like, Edakka, Maddalam, Tabla, Ghatom, Ghanjira ,etc. He has performed more than 500 reputed stages for Classical Concerts and accompanying for Classical dance forms.

Mohan Rangan Govindraj : Flute

Mohan Govindaraj is a well known musician who was inspired to learn playing the flute from his father Sri H. D. Govindaraj. At an early age, in 1979, he started his flute career under the tutelage of Vidwan S.A. Sashidhar at Vijaya College of Music, Bangalore. He continued his advanced music education under the guidance of Late Sangeetha Kalarathna Prof. H.V. Krishnamurthy.

I had the opportunity to see this performance live at the San...

Fri, 08 Jul 2011 13:46:09 -0700

I had the opportunity to see this performance live at the San Francisco Ethnic Dance Festival on the 1st of July. Came across their audition video on you tube. Since i was not able to record the actual performance for my readers, I wanted to share this video with you guys. I was simply loved their dancing and sensuality. These ladies managed to bring in the right blend of both….

Video

Tue, 05 Jul 2011 21:48:53 -0700

Here is a glimpse of the Ethnic Dance Festival i attended in San...

Tue, 05 Jul 2011 11:00:06 -0700

Here is a glimpse of the Ethnic Dance Festival i attended in San Fransisco. This video was taken by my sister as we were watching the impromptu dance session by the participating groups in the foyer. The most exciting thing about the festival for me was the flawless way in which these dance group took the audience around the world, each telling a story about the culture and traditions and history of their country and region. The fact that they had live music along with the dance rather then recorded as i have seen in many festivals, made a huge difference in creating the appropriate ambience for the audience. Also the encore performance by all the groups together was not only well choreographed but also gave out the message that no matter which country or ethnicity we belong to, music and dance transcends all the barrier and makes all of us world citizens.