Venkat Raman
Auckland, August 2, 2024
Anuradha Ramkumar, Principal and Director of Nrithya Abhinaya School of Dance, popularly known as Anuradha’s School of Indian Dances, proved yet again that she is the Master of the Arts at her show held on July 20 and 21, 2024.
Dorothy Winstone Centre at Auckland Girls Grammar School was packed to capacity on both evenings as ‘Anu,’ as her family and friends affectionately address her, presented almost all the classical dance formats of India (Bharata Natyam, Kathak, Kathakali, Kuchipudi, Odissi, Manipuri and Mohiniattam) with precision and perfection that bespoke her experience and expertise. As we watched the programme and admired the discipline and synchronisation, we remembered having reported (Indian Newslink, March 1, 2007) that Anu represented India in Softball at matches held at home and in China and played First-Class Cricket representing Andhra Pradesh and South Zone in India.
Titled ‘Bha Ra Tha,’ an acronym for Bhava (Emotions), Raga (Melody) and Tala (Rhythm), the programme was decorated with several unique features, three of which were outstanding – the display of Navarasa (the Nine Human Emotions), the music of A R Rahman, choreography, the costumes and the collective effort of students, parents and others. There was never a dull moment (save on one count), the three-hour event was replete with Anu’s dance prowess, which is almost inimitable.
Tribute to A R Rahman
Allah Rakha Rahman (born A S Dileep Kumar, a Hindu) is a music composer, songwriter, multi-instrumentalist and philanthropist, who shot to fame with ‘Roja,’ a multilanguage (1992) film which carried his lilting tunes.
With more than 150 films in Tamil, Hindi, Malayalam, English, Persian and Mandarin to his credit, Rahman is a two-time winner and five-time nominee of the Academy (Oscar) Award. His other accolades include BMI Awards, Grammy Awards, Six National Awards, 15 Filmfare Awards, 17 Filmfare South Awards and Six Tamil Nadu State Awards.
According to a BBC estimate, more than 150 million copies of his works from more than 100 film soundtracks and albums have been sold in many languages. His popular films include Roja, Bombay, Dil Se, Taal, Lagaan, Vande Mataram, Jodhaa Akbar, Slumdog Millionaire and 127 Hours.
He is nicknamed ‘Isai Puyal’ (Musical Storm) and ‘Mozart of Madras.’ In 2006, he was honoured by Stanford University for his contributions to global music.
The life essence of Navarasa
Learning Navarasa is an important session for a student of dance and Anu tries to get the best out of her performers at all her shows. The Bha Ra Tha was no exception.
Indian Classical Dances emphasise the importance of the Navarasa and say that each Rasa explains the human state of mind.
The Natyashastra has described the Bhavas used to create Rasa. Every Rasa is identified with a specific colour for use in all types of Performing Arts, which Anu employed judiciously in her show.
The Navarasa has been described as Shringara (Love), Hasya (Laughter), Karuna (Sorrow, Sympathy or Compassion), Raudra (Anger), Veerya (Courage), Bhayanaka (Fear), Bibhatsa (Disgust), Adbhuta (Wonder) and Shanta (Peace). These were the basis of the songs, costumes and performances at Anu’s programme.
Excellence Exemplified
The Bha Ra Tha performers belonged not only to various ethnic groups but also ages. There were children as small as three years old and seniors who were in their early 50s. Mothers were dancing alongside their daughters and seniors were guiding the latest entrants. It was a combination of efforts, the sincerity of which contributed to the success of the programme.
Anu began her show with a Bharata Natyam item and continued the style to represent Veerya, embodying courage and heroism. The dancers depicted valiant characters, celebrating bravery, strength and the triumph of good over evil through energetic and assertive movements. Warriors and survivors were well represented.
Devarattam, which originated in Bellary (now in Karnataka) and later spread to Tamil Nadu was the format used to represent Raudra, the fiery emotion of anger. Through dynamic movements, intense expressions and powerful footwork, Anu’s performers portrayed the spectrum of anger, from mild irritation to fierce rage. Tandava, which has extensive use of Raudra, was however not employed in this number.
Mohiniattam is a graceful, enchanting dance format, practiced primarily in Kerala. This dance is attributed to ‘Mohini,’ a short transformation achieved by Lord Vishnu. Mohiniattam usually involves Hasya, the emotion of joy and laughter. The performers used expressions, body movements, and humorous narratives to evoke laughter and mirth in the audience.
Hasya, Bhayanaka and Bibhatsa were all part of an item which Anu chose to begin with ‘Chinna Chinna Asai,’ a melodious number from ‘Roja’ (written by P K Mishra). The performers conveyed a sense of awe, marvelling at the extraordinary or the divine through expansive and captivating movements. The amazing format of Kathakali was chosen to inflict fear and abhorrence.
(Photo by Jagie Singh, LionBeats)
Anu dedicated Kuchipudi, Bharata Natyam, Odissi and Kathak to display respectively Karuna (Sorrow, Sympathy or Compassion), Shanta (Peace) and Shingara (Love).
Another highlight of the evening was the grant of Scholarships to several students of Anuradha’s School of Indian Dances and Certificates of Excellence to students with distinction.
The performances were embellished by Folk dances representing the Telugu, Tamil, Malayalam, Lavani, Rajasthani, Gujarati and Kashmiri communities.
Oppana, a popular form of social entertainment among the Mappila or Kerala Muslims drew applause as our local artists presented the item with professional ease.
Anu is now busy producing the next show which will bring joy to devotees of Lord Venkateshwara of Tirumala Tirupathi Hills. Indian Newslink will report on this highly promising show being readied for public view in October.
