A New Dance Series Presents Research-oriented Performances Using Good Production Values

Pratiroop is a latest on-line sequence hosted by Warrier Foundation to advertise classical artwork and lift funds for underprivileged youngsters. Senior gurus corresponding to Rama Vaidyanathan, Vyjayanthi Kashi, Dr. Neena Prasad, Sharmila Biswas and Prerana Shrimali, representing totally different genres, have mentored dancers Prateeksha Kashi, Nishtha Budhlakoti, Rohini Banerjee, Divya Warrier and Keertana Ravi, respectively.

“We have been able to reach over ten lakh people across our social media platforms, taking them through the actual journey of how an artiste evolves. The series was powered by Indian Raga and guided by their CEO Sriram about how to change viewer perceptions towards research-oriented productions and to reach new global audiences,” says Divya Warrier.

Interactive Sessions

Divya, a Mohiniyattam dancer, disciple of Jayashree Nair and Dr. Neena Prasad, was mentored by Guru Sharmila Biswas. The presentation begins with an interplay between the mentor and mentee. Says Biswas, “All our skills arise from inherent passions, different for each person. Developing skills to perform is by itself very creative.”

Choosing Hidimbi because the nayika was a acutely aware effort by Divya to return out of her consolation zone. A rakshasi, the cannibal spouse of Bhima, she was a girl with robust likes and dislikes. How did she carry up her son with ethics and values as a single mom?

Once the topic was determined, Biswas instructed Divya to learn and analysis. After a couple of month of studying all the pieces from Vedavyasa to Peter Brooks, historical and trendy texts in Hindi, Malayalam and English, Divya ended up with an enormous quantity of notes, crowded and confused.

Biswas set some primary guidelines for the script. Divya wished to take a look at Hidimbi as an individual, not influenced by typical ideas. It was not the picture of a demon grotesque, loud, heavy-footed, however an agile and harmless mom with the knowledge of the animal world.

Divided Into Segments

The subsequent step was to divide the story into scenes, together with soundscape, dialogues, and primary actions. Gradually the script emerged. Putting collectively the music was a problem, the singer from Kerala, the lyricist from Delhi, percussionist and recording particular person from Mumbai.

Next got here the choreography. “Sharmila didi wanted me to explore a few things — Hidimbi’s signature walk and usage of Vachika.” Divya learnt how one can talk successfully, concerning the significance of intensive analysis and analytical pondering, and about sticking to traditions whereas having an open viewpoint and objectivity.

In the opening scene, Hidimbi performs morning puja. Her toddler son Ghatotkach interrupts her continuously. Their playfulness is sort of a tigress and her cub. The music is a ritualistic chanting adopted by a lullaby. As Ghatotkach grows up, he’s proven getting skilled in astra, maya shastra and the ethics of warfare, Dharma Gyana. The smoke impact provides to the visible influence. Ample facial expressions, detailed hand gestures, and physique language carry out Hidimbi’s persona.

The subsequent scene, impressed by Punar Milan of Prasuraam Rajshekar Basu, brings out the mushy and romantic dimension of Hidimbi when she meets her Aryaputra. The use of English dialogue, whereas efficient in conveying the thoughts voice, is a bit too subtle within the conversations with Ghatotkach. There are patches the place the dialogue and music appear to overlap. The deployment of tanam and alaap units the proper temper for the scene.

The Kurukshetra conflict begins. Ghatotkach is keen to affix the household conflict, and his frustration is depicted clearly. Then the decision comes and Hidimbi sends him with pleasure.

Poignant Depiction

Hidimbi sees the conflict by means of her mayadrishthi and cheers the valorous feats of her son. When he’s slain and in deep anguish, she flies to the battlefield and protects her son’s physique from the hovering vultures. The metaphysical dimension of the cannibal mom is explicitly introduced out by Divya’s eloquent abhinaya.

The pained mom watches the celebrations within the Kaurava camp. Why is there a celebration within the Pandava camp? The story of Hidimbi ends on this poignant be aware. She carries her son and flies away.

The music path and percussion (udukkai, chendai and mridangam) is by Satish Krishnamoorthy, music composition and vocals by Jayan Kottakal, and lyrics by Dr. Chandrashekaran Nair.

The opening dialog phase between the mentor and mentee is a bit too lengthy and tedious. Effective use of stage house and lightweight added to the standard of the programme. The use of props, significantly the crimson drape and white display as Divya strikes out and in of the pictures, was proof of some good video enhancing by Krishna Perla.

The Mohiniyattam costume refurbished with a dhoti-pant suited Hidimbi’s boisterous picture. Divya plans so as to add two extra scenes, Hidimbi as nayika and daughter-in-law for future exhibits.

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