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"Mansingh, Sonal."
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Sonal still glitters
\"Dance was chosen for me in this birth,\" effused legendary danseuse Dr Sonal Mansingh, her eyes shining as she described how her personality has evolved through her dedication to dance into a social activist. \"Dance is dance and brings joy to people, while lifting up your morale from the daily mundane life.\" Sonal says the sage Bharata wrote in the Natya Sastra, from which India's oldest dance form bharatanatyam found its origins, that those practicing the dance form should go ahead \"according to time and place\".
Newspaper Article
When anti-left is just not right
When noted danseuse and Sangeet Natak Akademi head [Sonal Mansingh] Man- singh recently rejected a request from a renowned musician to pro- mote one of his proteges, she unwittingly blew the lid off a resurgent ideological battle raging in cultural institutions. The outpourings that promptly followed in reaction to her act could not have left her in the dark. The musician's own response trilled \"Sonal Mansingh is a communalist and hence should have no place in the Sangeet Natak Akademi\". Sample a few of the retro brand accessories considered a must- have to conclusively settle political differences: 'saffronite', 'communal', 'fanatic', 'revisionist, 'reactionary', 'right-winger', and 'extremist', are tags fetching high premium from these sections. And for such varied end-uses as tarring the rival competing for that important post, deny-ing top-notch academic appointments and capping debate. Once the tag sticks, the stigma is non-fade, fast colour.
Newsletter
60 artistes meet Kalam, seek ouster of Sonal Mansingh
Apr. 23--NEW DELHI -- Continuing with their demand for the removal of Sangeet Natak Akademi (SNA) chairperson [Sonal Mansingh], 60 noted artistes met President A P J Abdul Kalam on Thursday with a memorandum. Known for her proximity to the previous dispensation, the noted Odissi dancer is accused of running the organisation autocratically.
Newsletter
Odissi mixes power, sensuality
Her professional career started with another Indian classical dance, Bharatnatyam. She was introduced to Odissi guru Kelucharan Mohapatra in 1965. While studying Odissi, [Sonal Mansingh] learnt other Orissa cultural forms, including the martial arts based dance Chau. The inherent contradiction of Odissi makes it a difficult dance form to master, says [Malini Guha], who has been learning Odissi for 13 years. This contrast in the signature postures of Odissi. While the chauka (a square-like stance resembling the idol of Lord Jagannath) emphasizes the controlled strength of the dance, the tribhangi (the triple bend of the head, bust and torso) emphasizes a sensuality unique to Odissi.
Newspaper Article
INTERPRETATION, NOT CHOREOGRAPHY, IS THE ART OF CLASSICAL INDIAN DANCE
Three main aspects of dance are represented in a repertory. \"Nritta\" is pure or decorative dance which has no specific meaning, characterized by rhythmic foot stomping. \"Nrittya\" is the expressional element, where emotions are registered on the face and conveyed through stylized hand gestures. \"Natya\" is the story dance, where an element of drama is conveyed. [Pranita Jain] explained that the debut is an expensive affair. \"You must pay for the musicians, auditorium, sound system and a present for your teacher. The teacher is above all else in India, even your parents. You give her an expensive gift, like a beautiful sari, at your debut.\" The expense of Jain's debut was compounded by the event of her marriage to Ashok Jain the following week, a match that had been arranged by her parents in the traditional manner. Walking into one of Jain's classes as a student necessitates kissing western dance notions goodbye. In this country, a rigorous physical warm-up precedes performing. Jain practices meditative yoga. Her brief physical warm- up preceding the class included positions and actions that sports injury research warns against - such as dropping quickly into a position with deeply bended knees, performing repeated jumps in this position, or percussive side bends executed with the hands over the head.
Newspaper Article
Plot to keep writer in power
[Gopi Chand Narang]'s loyalists are allegedly subverting the Akademi constitution to secure another term for the general council members. The move, violative of the constitution, has raised the hackles of several members, who say a handful are ensuring an extended term for the council members and hence a second term for Narang. Narang's track record doesn't help his cause. Writers recall the election in which he trounced writer Mahashweta Devi.
Newspaper Article
Paying tribute to India's `Father of Modern Dance'
[Sonal Mansingh]'s dance at the Netaji Auditorium of the Indian High Commission at Jalan Duta in Kuala Lumpur was the impromptu finale to a presentation on renowned dancer Uday Shankar. Uday seemed to have taken the essentials of various dance traditions in India and Western theatrical techniques to choreograph his dance-dramas, which dealt with issues like rape, unemployment and capitalism, said [Sunil Kothari], illustrating his points with slides and a video presentation. Fluid movement .. Sonal during her performance to a [Jayadeva] verse.; Lyrical ... Sonal in another pose during her performance.; Dance masters ... dancer Ramli Ibrahim with Sunil at the Netaji Auditorium.
Newspaper Article
Odorous Comparisons Made Between Festivals
[...]is The Company Chandigarh finding Punjabi resonance in Lorca's immortal Yerma; and even the local Black Swan Theatre bor rows Indonesian Wayang Kulit to retell Christopher Koch's Year of Living Dangerously (without Mel Gibson!); but when the festival pro gram booklet describes the Thai installation artist, Araya Rasdjarm rearnsook as reading from traditional Thai literature\" about lovers and love while photos of dead bodies are projected on to pools of water and the Brisbane-based Eli sion contemporary music group im provises responsively, Perth seems to be in danger of throwing tradition out with the bath water!
Newspaper Article
Arts & Entertainment
CHENNAI Flame of the Forest, the latest from JustUs repertory of the Madras Players plays at the Ranga Shankara on September 8-9. It's inspired by the historical novel Sivakamiyin Sapadham by 'Kalki' Krishnamurthi, a freedom fighter, writer, novelist, critic and a lover of arts. The play is noted journalist and art critic Gowri Ramnarayan's fresh, aesthetic and humanist interpretation of the classic. The play braids together music, poetry and dance, and is set in Kanchi and Mamallapuram. At 3.30 p.m. and 7.30 p.m. everyday. In [RAM GOPAL VARMA] ki Aag, almost every other scene features a close-up of peculiar-looking men with bulging eyes and sinister faces. They're led by the ultimate baddie: Babban, the new millennium Gabbar Singh. [Amitabh Bachchan], playing Babban, is mercurial, menacing, funny and sadistic. The actor is having the time of his life. But the rest of Varma's cast seems pained to the point of paralysis. [Ajay Devgan], reprising Dharmendra's role, is miscast; Nisha Kothari re-playing Basanti snarls till it hurts; Sushmita Sen tries to bring gravitas but mostly weeps. Varma, who became a filmmaker after seeing Sholay, is singularly unable to reconstruct it for a new generation. Thirty-two years later, Ramesh Sippy's vision endures. MUMBAI Piramal Gallery, NCPA, organises a photography exhibition 'Paradise Less Travelled' by Hitesh Brahmbhatt. The images are of non-touristy and lesser known regions of Arunachal Pradesh, Meghalaya, interiors of Orissa and the ancient Silk Route through Kinnaur and Spiti in Himachal Pradesh. \"Photography for me is an artistic pursuit with endless rewards. The creation of an image is always an exciting journey,\" says Brahmbhatt. As a regular traveller with a passion to explore the less frequented countryside, Brahmbhatt's goal is to give this momentary image its own voice. Simultaneously, he is working on a theme-based collection, 'Shining Mumbai' where the city will play his muse and his focus will be on its changing faces. Till September 12.
Magazine Article