Art Summer Camp - 2021
Why are we organising this art camp and why is it so close to my art?
As an Indian classical dancer/teacher/choreographer, I perform and teach two forms of dance, i.e. Bharatanatyam and Kathak. Now our school has regular Yoga & Hindustani classes too. One of the most frequent questions parents ask me is “Which dance form should I enrol my daughter for? And is Music & Yoga are compulsory?”. Here is my answer. Actually just not that, for a dancer there are so many other cross skill sets which are interwoven with Music, Drawing, Painting, Notes making, Fitness, Story telling, Voice modulation, Costume, Make up, Literature, Mythology, Imagination, Creativity, Being organised, Presentation, People management, Lights, Photography, Videography, Editing and many more..
I more or less learnt/learning these skills ‘On the job’ or stumbled(realised) upon them during the journey of my dance career in 25+ years. I wish I was introduced to these things in the formative years of my childhood as it would leave a lasting impression.
This art camp is designed to be an introduction to difference facets of art forms. Thankfully we are blessed to have so many wonderful artists in the RTP area and I couldn't stop myself to advantage of that and bring this accumulative experience of mine to action through this Art Camp. Hope this benefits the art lovers.
Finally, “Art must be life – it must belong to everybody” – Marina Abramovic, and I am just doing my bit!
- A Bharatanatyam and Kathak practice session
Conclusion of Season 1
“Abhyāsa - Bharatanatyam/Kathak practice session” - was one of the experiments of its own kind which was conducted during the pandemic to keep up the positivity, by inviting dancers globally to participate and to inspire each other. This was an initiative by Seema Viswanath, Nritya MayaNanda School of Arts, NC, USA.
It started on April 25th by practicing an hour of both Bharatanatyam and Kathak basics on both Saturdays and Sundays of the weekend and any interested dancers across the globe were welcomed to join the session without any admission fee and to our surprise this continued for not one or two but 28 sessions! After 12 sessions theory sessions were introduced. The motto of these theory session was to grow one’s knowledge individually by picking up the topic from their wish list to research, study and to share it with the community in the process. Topics like Shaastra and its applications in dance/music/anatomy/inspirational legends/theory applications/Architecture/Nutrition and many more were chosen by dancers themselves to research and present it to the forum. It opened a wide perspective and gave reasons to brainstorm to each and everyone.
Never thought it would continue and complete 28 sessions. It would be have made more, due to unavoidable situations these sessions had to end up at 28th.
Some facts achieved:
72 hours of sessions involving
- 56 hours of dance practice which included
(28 hours of Bharatanatyam & Kathak practice each)
-16 hours of theory presentation/discussion on 16+ topics
35+ dancers from 4 different countries
Included dancers of Bharatanatyam, Kathak, Mohiniattam, Odissi, Kuchupudi and contemporary dances.
These diversified dancers shared their warm ups/steps used in Odissi, Kuchupudi, Mohiniattam, Bharatanatyam and contemporary dance which was an eye opener about these art forms.
Celebrated Guru Purnima together, recollecting and practicing at least one thing taught by our teachers
Jathi Bheda and Taala session from Smt. Nandini Eswer, Mysore
Baithak with Mrs.Ruchi Saini, Kathak exponent from Delhi, disciple of Vilkshan guru. Munna Shukla ji.
Abhyasa session lead to our continued long term journey….
It lead 7 dancers to get back to their dance journey by starting Kathak and Bharatanatyam classes on a regular basis...
Sharing information lead to attend multiple workshops together and it is still continuing….
Abhyāsa session inspired dancers to reach out to their respective teachers to explore technology which lead to regular classes now.
Created a platform or go to people of interested dancers to ask their doubts/needs anytime about dance or about dance in our lives.
Nritya MayaNanda is very fortunate to take up this initiative and being a reason to create a community of growing and exploring dancers all across the world together! Thank you all for participating and for becoming a family of artists. Kudos!
And the journey continues…..
Looking forward to meet you all at Abhyāsa - Season 2!:)
Virtual Baithak with Ruchi Saini
Ruchi Saini is a devoted disciple of eminent Kathak Guru Shri Munna Shukla, of Lucknow Gharana.
Being his disciple who is learning under the Guru Shishya Parampara for the past 14 years, Ruchi has conceived, presented, hosted, conceptualized many Baithaks( sit down conversations), shows , workshop events, Lecture- demonstrations & film screenings dedicated to Kathak in such a way to bring to light the tireless efforts and immense value that her Guru has brought to the classical dance form Kathak.
According to her, dance is a meditative practice where ‘she loses herself to be with her Self’.
- A solo Bharatanatyam and Kathak dance concert
Vid. Seema Viswanath - the artistic director of Nritya MayaNanda School of Arts', who is also a Bharatanatyam and Kathak dancer/choreographer/teacher, would be representing both Bharatanatyam and Kathak in the same dance concert - 'Dvimukhi'.
Bharatanatyam takes its origin from South India, whereas Kathak takes its origin from North India. Starting from its origin and because of its regional influence both dance forms possess strong technique and stands outstandingly different from each other. For example, Bharatanatyam uses Carnatic music and it's taalam system, specific hand gestures, sharp linings, squat position, exaggerated expressions and it follows ancient treatises like Abhinayadarpana and so on. On the other hand, Kathak uses Hindustani music and it's taal system, suggestive hand gestures, standing posture, subtle expressions, graceful linings and does not stick to any particular treatise and so on.
Under the guidance of her teachers Seema has been practicing both dance forms and it has been her dream since 13+ years to present both the dance forms in one platform. She sincerely attempts to perform 'Dvimukhi' which comprises both Bharatantyam and Kathak dance concert - back to back and followed by a 'Talk -Back' to share her experience and to listen from the art lovers.
Murali - Dhanu
- namo yogeshvara Krishna, puroshottama Rama
'Pratham- USA’ in association with ‘Nritya MayaNanda’ school of Arts presented ‘Murali – Dhanu’ – a comparative vision of Yogeshavara Krishna and Purushottama Rama. Both are the same, yet different - they are different but the same! Lord Rama is from Treta Yuga and referred to as Maryada Purushottama. Whereas Lord Krishna is from Dwapara Yuga and called, Yogeshwara Krishna. It’s Interesting to see that the famous two avataras of Lord Vishnu are different and opposite in many ways, and that they deal with a different kind of philosophy. One follows an idealistic approach and another one preaches a universal path in the best available context. Why are they so different and yet the same? Why is there a difference in their approach? What are the differences in their life style? What differences do they preach? For all these questions as an answer we presented a comparative approach of Lord Rama and Lord Krishna, in terms of ‘Nritya Nataka’.
Dr.Rohitha Eswer’s USA trip – 2018
21 hrs of ‘Abhinaya Darpana’ workshop at Cary
12 hrs of ‘Abhinaya Darpana’ workshop at Charlotte
6 hrs of ‘Abhinaya Darpana’ workshop at Virginia
Lecture demonstration on ‘Indian dance’ at Eastern North Carolina University’
Lecture demonstration on ‘Abhinaya Darpana’ workshop at Cary organized by ‘Harate Katte’
Bhaitak session on ‘Nritya and Nada in Sculptures’
'Baithak' - No.2 - Basant Panchami celebration!
The featured artist is Sri. Sandeep Hattangady who has pursued Tabla for nearly two decades, learning from eminent Tabla Gurus Shri Prabhakar Betrabet, Ustad Shabbir Nisar and Pt. Mohan Balvalli. He has performed widely in India and the United States, playing both solo and accompanying artists such as Pandit K Sridhar, Shri Anirban Dasgupta and Dr. M Narmadha. Based in Durham, Sandeep balances his musical interest in performing and teaching Tabla alongside his professional pursuits working as an Electrical Engineer at Analog Devices Inc. He has co-authored the book, TIHAAI, in English and Hindi with his Guru Shri Prabhakar Betrabet for students of Tabla and music.
Along with this the budding students of Nritya MāyāNanda who took exam in last November will be presenting a small performance.
All are welcome.
Your RSVP to this event is appreciated to facilitate the event.
Performances and interactions
At Charlotte presented Bharathanatyam duet for ‘Carolina Kannada Balaga’ – 30 min
At Virignia presented Bharathanatyam duet for a fund raiser for “Rare diseases organization’ – 1 hr
At Cary Solo performance for ‘Heritage India Association of North Carolina’ - 20 min
At Cary – Bharathanatyam duet of for IAENC and inauguration of ‘Nritya MayaNanda’ – 1.5 hrs
14 hrs of interaction between Dr.Rohitha and Nritya MayaNanda dance class students
Review with dance class students after Cary performance
Ritu Anaavaran - stages of learning
Kathak performance for the wonderful songs of 'Jhanak Jhanka Payal Bhaje' to depict different Ritus with learning stages of an artist. Concept by Vid.Nandini Eswer, Choreography & Direction by Smt.Seema Viswanath
Kids of age group between 5 and 10 will be giving a tribute to 'Phulwana Attack' by performing 'Vande Mataram' a patriotic number.
Wonderful ladies would be presenting authentic 'Nagaland Folk dance' for a recording and choreography which is 80 to 100 years old and getting passed on to the generations till today as a part of headliner event.
Nritya MayaNanda students celebrate 'Basant Panchami' by inviting the Vasant ritu and offering their dance to Goddess Saraswati and play Holi - the festival of colors @ Besaanv , Morrisville