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Dec 11, 2024 | 
thehindu.com | Charumathi Supraja
Not all seeds that are pressed into the earth sprout. In ‘The Forgotten Seed’, a Bharatanatyam recital based on the works of Sangam poets that was presented by Alarmel Valli, seeds long lost in soil find root, even transforming into large trees. Shaped by the graceful artistry of the senior dancer, the poems became stories – and sites of protest or celebration.
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Dec 4, 2024 | 
thehindu.com | Charumathi Supraja
Song and dance were inseparable in Mandala, which depicted the journey from seeking outside to finding within. Directed and choreographed by Leela Samson, and set to poetry by Kabir, Annamacharya, Meera Bai, Kshetrayya, Soyarabai and Kanakadasa, among others, Chandana Bala Kalyan’s music was an equal collaborator in Amrita Lahiri’s dance.
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Nov 23, 2024 | 
thehindu.com | Charumathi Supraja
Picture this: A percussionist has arrived at the concert venue, but is asked to leave because the other percussionist has declared, “I do not play concerts with or for women.” The organisers and “main artiste” (as the artiste sitting centre stage is called) make a hasty apology and send her home. Enraged, she cries loud enough for her neighbours to gather and find out what happened. She vows to bring her work and instrument — the ghatam — to the centre of the stage.
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Nov 12, 2024 | 
htsyndication.com | Charumathi Supraja
Posted On: 2024-11-13 Posted By: Charumathi Supraja Health & Lifestyle National Education Employment Politics Cities Hindustan Times India, Nov. 13 -- Everyone loves a love story. But what makes Kaifi aur Main, the love story in question, even more appealing is that it is told by the daughter of the couple whose story it is.
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Nov 12, 2024 | 
hindustantimes.com | Charumathi Supraja
Everyone loves a love story. But what makes Kaifi aur Main, the love story in question, even more appealing is that it is told by the daughter of the couple whose story it is. Shabana Azmi plays her mother, Shaukat Kaifi, in Kaifi aur Main written by Javed Akhtar and directed by Ramesh Talwar. Kanwaljit Singh plays Kaifi Azmi, while the music, designed by Kuldip Singh, is brought alive by Jaswinder Singh and a team of musicians.
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Oct 24, 2024 | 
thehindu.com | Charumathi Supraja
One is made of beaten earth, the other of gourd. The overlapping origin stories of the ghatam and calabash more than peeked through in the musical conversations they made during the inaugural concert of Jodhpur RIFF. The instruments chatted like old friends, belying the fact that the musicians playing them were from different continents and had met just 10 minutes before getting on stage.
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Oct 18, 2024 | 
thehindu.com | Charumathi Supraja
Sunny Symphony, presented by the children of Srishti Special Academy, Bengaluru and directed by versatile artiste MD Pallavi, was an ode to the connection a concert could bring when not confined to conventional performance parameters. This was the inaugural concert of the Bhoomija Jackfruit Festival, curated by eminent musicians Shubha Mudgal and Aneesh Pradhan. Pallavi also hosted the show with a warmth that seemed to embrace the children on stage and among the audience.
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Oct 4, 2024 | 
thehindu.com | Charumathi Supraja
Cartes Blanches means ‘complete freedom’ or ‘a blank card.” While blankness gives reign to choice, factors like the card’s size and texture, inevitably shape it. This play of freedom with restriction seemed to define ‘Cartes Blanches’, recreated with Indian dancers by French choreographer Mourad Merzouki, in collaboration with Prakriti Foundation and The French Institute in India.
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Sep 21, 2024 | 
thehindu.com | Charumathi Supraja
‘Kathas in Kathak,’ presented by Natya STEM Dance Kampni at the Bangalore International Centre (BIC), was a dance between swirling and stillness, history and modernity, silence and the music of resurgence. While each aspect of this dance had its own textures, colours and vocabularies, a unified language, cultivated by the dancers in body, mind, and spirit shone through.
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Sep 21, 2024 | 
thehindu.com | Charumathi Supraja
‘Kathas in Kathak,’ presented by Natya STEM Dance Kampni at the Bangalore International Centre (BIC), was a dance between swirling and stillness, history and modernity, silence and the music of resurgence. While each aspect of this dance had its own textures, colours and vocabularies, a unified language, cultivated by the dancers in body, mind, and spirit shone through.
