But kathak soloists are mathematicians above all, expert calculators of numbers and time.
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Mr Khan, born in south London to Bangladeshi parents, merges contemporary dance with traditional Indian Kathak.
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Traditionally, kathak is more of a solo form, with a tight interplay between dancer and musicians.
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Like ballet, kathak contains deep reservoirs of popular culture and has elusive, often vaguely documented origins.
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On Wednesday, Indian Independence Day, the focus narrowed further onto a single form of classical Indian dance: kathak.
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In her contemporary solo "rapture/rupture," Cynthia Ling Lee, who is Chinese-American, gradually exchanged her costume, one suitable to the Kathak dance genre, for jeans and a blouse, while a recorded voice presented her outsider's discontent with Kathak in its traditional frame of the lover separated from the beloved.
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Following is a closer look at four styles — Bharatanatyam, Kuchipudi, Kathak and Mohiniattam — and their practitioners at Drive East.
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"The turns in Kathak are a speciality to bring vigor and drama to the nritta, or pure dance," he said.
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This was the piece that introduced America to this British-Bengali choreographer's thrilling fusion of contemporary dance and classical Indian kathak.
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The group, formed in 2013, blends Indian Kathak dance with other forms of music, dance and rhythm — "always rhythm," Ms. Won said.
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The program showcases Mr. Odedra's extensive background in Bharatanatyam and Kathak, two forms of classical Indian dance, and his departures from it.
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Known for his fusion of contemporary dance and Indian kathak, he had not previously created a full-length work for a ballet company.
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In the "Kathak!" program on Friday, the duo Piyush Chauhan and Preeti Sharma made a great impression, perhaps because of the indoor space.
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What she's actually doing is Kathak or mujra, both more traditional forms of dancing that involve intricate, soft hand gestures and nuanced expression.
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Kathak was at times the province of male performers in a hereditary line; it was eventually taken up by non-hereditary female dancers.
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For me, ballet, and for that matter kathak, the classical Indian dance form that I trained in, don't belong to a particular era.
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Dancers from the Aditi Mangaldas Dance Company will perform the piece "Within," blending contemporary styles with Kathak, a form of dance from northern India.
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AKRAM KHAN Mr. Khan, whose work blends contemporary dance and Kathak, a classical Indian form, has revised his visually striking "Desh" for family audiences.
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"I was enthralled by how stunning it was, with the melding of traditional kathak dance and ballet," Ms. Barretto said in a telephone interview.
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I started out as a writer, but am now primarily a video producer and a dancer, trained in Bharatanatyam and Kathak Indian classical dance.
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Solo kathak artists can be like magicians: they explain what they're going to do, and then when they do it, you can hardly believe it.
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In the opening scene, Mr. Khan dances alongside the musicians, juxtaposing elements of Kathak, North India's classical dance form, with less elegant stumbles and falls.
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A teenage Mr. Khan practices in front of his bedroom mirror, mixing the Indian form of Kathak with moves from hip-hop and Michael Jackson.
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"Since we began performing, there has been greater acknowledgment, greater visibility and greater respect for us, for the community," said Aher, a trained kathak dancer.
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As usual, there will be an array of classical Indian dance styles on display, from the brisk footwork of Kathak to the sensuous swirl of Mohiniattam.
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In Kathak, stories revolve around the god Krishna and the goddess Radha; what you'll see is a tapestry of intricate footwork, fast pirouettes and statuesque poses.
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On Saturday night, an indoor performance will feature artists offering contemporary takes on two of those styles, Kathak and Bharatanatyam, as well as more traditional interpretations.
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On the final afternoon, the exquisite tapper Dormeshia Sumbry-Edwards adds her percussive voice to a Kathak performance featuring Rachna Nivas and Rina Mehta of Leela Dance Collective.driveeastnyc.
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Trained in kathak, the northern Indian dance form, he is known for his powerful performances and innovative work with his own troupe, Akram Khan Company, on the contemporary scene.
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Instead, accompanied by five musicians, he gives us the stamping, percussive footwork and gracefully undulating arms and wrists of kathak, the classical Indian form bequeathed to him by Mr. Khan.
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As her choreographer, she chose Akram Khan, the British dance maker of Bangladeshi origin who rose to fame here with works that combined classical Indian kathak and contemporary dance techniques.
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On Sunday, the Kathak artist Sanjukta Sinha embraces traditional and contemporary aspects of the form in "Angika, Journeys in Love," a suite of dances that explores the love of the divine.
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On Monday, the Indo-American Arts Council presents an indoor showcase that includes the Bharatanatyam duo Viraja and Shyamjith Kiran; the soloist Ashwini Ramaswamy; and Parul Shah, a Kathak dancer and choreographer.
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Khan's "Giselle," and the ways that ballet and kathak meld so fluidly in his hands, suggests that ballet, with its attention to formal skill and poetic gesture, is a surprisingly natural match.
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Castro, an alumna of Urban Bush Women, dons tap shoes, Guha adds her decades-long immersion in classical Indian Kathak dance to the mix, and Rosales brings her brand of fiery flamenco.
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"If someone points at me and says, 'Oh, she's not doing that from tradition,' it's O.K. Because I'm only trying to show traditional Kathak in one section of the performance," said Ms. Won.
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Over the past two decades, Akram Khan has made a name for himself as both an inventive choreographer and an exceptional dancer by putting contemporary twists on the classical Indian dance form Kathak.
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Monday's event closed with Parul Shah's display of contemporary Kathak, in which the virtuosically rhythmic turns of the traditional genre alternated with an entirely modern, often expressionist, use of the torso and limbs.
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"The Imperial March" gets red lighting and a shadowy belly dancer dressed in all black, while the brief-but-brilliant harmonium arrangement of "Cantina Band" teases Kathak dancer Meenal Verma and her ghungroos (ankle bells).
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As part of Danspace Project's Community Access program, this performance collective, with roots in the Indian classical dance form Kathak, presents the premiere of "We Sinful Women," a look at the universal repression of women.
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Also on the program are three American premieres: "An Italian in Madrid," featuring the young Kathak dancer Vidya Patel; "Mazur," danced to seven of Chopin's Mazurkas; and "Stronghold," by the company's associate choreographer, Martin Lawrance.
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It was in their many sudden stops amid speed that I appreciated how Kathak (once associated with the courts of the Indian north) exemplifies a central aspect of Indian dance philosophy: motion in stillness, stillness in motion.
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For its Joyce debut, this French company brings "The Roots," a 2013 work by its director, Kader Attou, that expands the possibilities of theatrical hip-hop by melding it with contemporary dance, Indian kathak dance and circus arts.
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Wednesday, for example, brought an impressive recital in the Sattriya genre by Anwesa Mahanta; Friday evening three Kathak performers (who also performed at the Battery Dance Festival); and, for the Sunday finale, a superb Carnatic flute trio (Flute Raman).
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But that dancer, Honji Wang, a German of Korean heritage, is as spirited as Ms. Mearns, and accustomed to holding her own with star dancers from other disciplines: the kathak-meets-contemporary of Akram Khan, the iconoclastic flamenco of Rocío Molina.
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In his fusion of classical Indian Kathak dance and contemporary dance, this electrifying British choreographer and dancer of Bangladeshi descent has always carried in his body questions of East and West, colonialism and modernism, and the precarious position of foreigners.
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In his work with his own company, Khan has experimented, too, with contemporary dance, to the point that his own distinctive kathak style has at times been overpowered by a more generic postmodern emphasis on arrhythmic pedestrian movement and conceptual abstraction.
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It was also a creative leap and a risk for Mr. Khan, who had never created a full-length work for a ballet company, and whose distinctive fusion of contemporary dance and Indian kathak did not seem especially suited to a classical ensemble.
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Khan's "Giselle" has a new score, new décor and costumes, a contemporary setting—migrant laborers in ghostly abandoned factories—and above all a new kind of dancing, which draws on kathak and ballet, on contemporary dance and everyday gesture, on animals and machines.
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Mr. Khan's training was, more specifically, in Kathak, one of the oldest forms of Indian classical dance, and in his solos he demonstrates his continued mastery of its whirling, stamping movement, his ability to create dazzling whiplashing turns and rhythmic patterns with his feet.
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This year's final program may prove the most intriguing for dance fans of any age, juxtaposing Ephrat Asherie's hip-hop innovations, Calpulli Mexican Dance Company's reinvention of an Aztec ritual and excerpts from Parul Shah's "Enduring Silence," which offers social commentary grounded in the classical North Indian form kathak.
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IN AKRAM KHAN'S latest—and last—solo work, "XENOS", the dancer whirls himself into breakneck turns, stamps his feet in ankle bells to Kathak drumming, hoists himself into the air on ropes as the set collapses around him, and rolls down a slope like a rag doll, pine cones raining onto his body.
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Watching her masterful whirls and tambourine-like foot stamps — during performances, her ankles are ribboned with jingle bells from calf to ankle, making them a percussive part of Pradhanica — you could be forgiven for forgetting that Kathak, which dates to ancient India, was once as foreign to Ms. Won, who is Korean, as it is to many Americans.
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After an afternoon of performances by young musicians on Saturday, another highlight is Devdutta Sengupta Ghosh, who brings Manipuri dance to the stage, while Sunday offers an enticing pairing: Rachna Nivas and Rina Mehta of the Leela Dance Collective — which specializes in Kathak dance — along with the guest artist Dormeshia Sumbry-Edwards, one of the finest tap-dancers working today.driveeastnyc.
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The Rashtriya Kathak Sansthan, Lucknow, has adapted the story into a Kathak performance.
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He had also received the Sangeet Natak Akademi Award for the year 1984. Lal was a disciple of Sunder Prasadji. Along with being a Kathak dancer he was also a singer and would play Pakhvaj. He taught Kathak at the National Institute of Kathak Dance (Kathak Kendra), New Delhi.
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Akhilesh Chaturvedi is an Indian Kathak performer, teacher and a choreographer. He learned Kathak dance from guru Rajendra Chaturvedi.
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Mangala Bhatt is married to Kathak dancer and artist Raghav Raj Bhatt, whom she met while training at Kathak Kendra. Raghav Raj Bhatt is a prime disciple of Padma Bhushan Pt Birju Maharaj Ji. After their marriage, Mangala moved to Hyderabad, India to continue her work in Kathak. The dance duo is synonymous with Kathak. They bring together the confluence of two distinct styles of Kathak, representing Jaipur Gharana and Lucknow Gharana.
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After the mid-1950s, Damayanti established herself as a successful solo Kathak dancer, taking training from Pandits, Achhan Maharaj, Lachhu Maharaj and Shambhu Maharaj of the Lucknow gharana and Guru Hiralal of the Jaipur gharana. Particularly, at Kathak Kendra, Delhi, she trained under Shambhu Maharaj. She was the first person to introduce "Saree" as a costume in Kathak dance. She also taught Kathak at Indira Kala Vishvaidyalaya, Khairagarh, and Kathak Kendra in Lucknow.
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Mohanrao Shankarrao Kallianpurkar (; 12 August 1913 – 1 December 1985) was a Kathak dancer and teacher from Karnataka, considered to be one of the greatest scholars and teacher of Kathak dance form. He belongs to Jaipur school of Kathak.
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Aiman has also done diploma degree in the Kathak dance, as she is one of the finest Kathak dancer in India.
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Jaipur Kathak Kendra is a teaching institution of Kathak. It was established by Government of Rajasthan in 1978 in Jaipur to patronise and develop the Jaipur Gharana of Kathak. The major priority of the Kendra is to develop the research work, education and training and to provide the stage for trained students and to popularise kathak. The present Acharya is Dr. Rekha Thakar.
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However, the Hindu families continued their private tutoring and kept the Kathak art alive as an oral tradition. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls". Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.
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Kathak and tap dancing complement each other as both use the feet with the major difference being footwear as Kathak is done bare foot.
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Kathak performance by Sharmila Sharma and Rajendra Kumar Gangani at the Guimet Museum (November 2007) Kathak is a forms of Indian classical dance. The dance style in its formative phase was inseparably linked with Krishna legend. The word Kathak comes from the word katha which means "story".
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A dancer posing during a kathak dance sequence. The dance has its origins in Northern India and especially Lucknow. The classical Indian dance form Kathak originated from Lucknow. Wajid Ali Shah, the last Nawab of Awadh, was a great patron and a passionate champion of Kathak.
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In the 1930s Prasad established Maharaj Bindadin School of Kathak in Bombay (now Mumbai). After spending time training in Mumbai and Chennai, he settled in Delhi in 1958 and joined the Bharatiya Kala Kendra (later, Kathak Kendra)Kathakkendra faculty He was honoured by the Sangeet Natak Akademi in 1959 for his lifelong contribution to the Kathak Dance field. During his career, Pt. Sunder Prasad has taught the nuances of Jaipur Gharana to many students, notable amongst them is Dr. Pandit Puru Dadheech Kathak scholar and Senior Kathak exponent.
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National Institute of Kathak Dance, also known as Kathak Kendra, is the premier dance institution for the Indian classical dance form of Kathak, and a unit of the Sangeet Natak Akademi, India's National Academy of Music, Dance and Drama, situated in New Delhi.Kothari, p. 221 Established in 1964, the institution is primarily dedicated to Kathak, though it also offers courses in Hindustani classical music (Vocal) and Pakhawaj and Tabla.
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The ancient music genre of India, Dhrupad, was re- introduced into Kathak for the first time by India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech. He is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by 'Dhrupad' maestros the Gundecha Brothers.
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Kathak dancers tell various stories through their hand movements and extensive footwork, but most importantly through their facial expressions. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. Kathak is unique in having both Hindu and Muslim gharanas and cultural elements. Kathak performances include Urdu Ghazals and commonly use instruments brought during Muslim rule.
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Kumudini Lakhia (born 17 May 1930) is an Indian Kathak dancer and choreographer based in Ahmedabad, Gujarat, where she founded Kadamb School of Dance and Music, an institute of Indian dance and music in 1967. A pioneer in contemporary Kathak dance, she is credited for moving away from the solo form of Kathak starting in the 1960s, by turning it into a group spectacle, and also innovations like taking away traditional stories and adding contemporary storylines into Kathak repertoire.
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Gopi Krishna was born into a family of kathak dancers. His maternal grandfather Pandit Sukhdev Maharaj was a teacher of Kathak and his aunt Sitara Devi was a Kathak dancer who has performed around the world. When he was 11 years old, Gopi Krishna began training under his grandfather. He also learned from Shambhu Maharaj.
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Jaipur has its own performing arts. The Jaipur Gharana for Kathak is one of the three gharanas of the major north Indian classical dance form of Kathak. The Jaipur Gharana of Kathak is known for its rapid intricate dance forms, vivacious body movements and subtle Abhinaya. The Ghoomar is a popular folk dance style.
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Due to different circumstances of her learning, geographical, intellectual, temporary, among others, Rohini could experiment freely in Kathak, applying her musical and intellectual interests. Bhate founded the Nrityabharati Kathak Dance Academy at Pune in 1947. Over the last six decades she trained hundred of dancers from her academy. She popularized kathak dance among the middle-class families of Maharashtra.
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Kathak has been closely associated with Krishna's legends. The earliest mention of Kathak as an art form is found in the Arjuna-Vanavasa chapter of the Aadi-Parva of Mahabharata. In its initial phase, Kathak is regarded to have been a mimetic representation of Puranic literature accompanied with dance. Kathakas were Granthikas reciting stories related to Vishnu.
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When Sanedhip saw Anna Patten dancing for the first time he was mesmerized and knew that a new dimension of kathak would flourish from both talents known as Mauritian Kathak. Sanedhip is now a very famous Kathak Dancer and Choreographer in Mauritius. His company, Art Academy Ltd, in Mauritius is run by himself and his partner Anna Patten.
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Uma Dogra (born 23 April 1957) is an Indian exponent of Kathak, an Indian Classical Dance form. She is the senior most disciple of Pt. Durga Lal, the Kathak Maestro from Jaipur Gharana. She is a Kathak soloist, a choreographer and a teacher. She has been performing in India and abroad for more than 40 years.
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The dance instructors teach Odissi, Bharatnatyam, Kathak, folk dance, etc.
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Rajendra Gangani is an Indian Kathak dancer known for his innovative style and technical wizardry. Gangani is one of the leading practitioners of the Jaipur Gharana style of Kathak. For his contribution to the field of Kathak, Gangani received the Sangeet Natak Akademi Award in 2003 from Indian president A. P. J. Abdul Kalam, the highest award given for performing arts in India.
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The same year she started learning Kathak with Sohanlal of Jaipur Gharana. Shortly after, she specialised in Kathak under the guidance of Pandit Lachhu Maharaj, for more than twelve years, and of Pandit Mohanrao Kallianpurkar, from the Lucknow gharana, for more than fifteen years. She also learnt Hindustani music from the musicians Keshavrao Bhole and Vasantrao Deshpande, and obtained a doctorate in Kathak.
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Prerana Shrimali is a senior dancer of Jaipur Gharana of Kathak. Born in 1959 at Banswara in Rajasthan, Shrimati Prerana Shrimali was initiated in Kathak dance by Shri Gauri Shanker. Later, she was groomed in the art at Kathak Kendra, New Delhi, under Shri Kundan Lal Gangani of the Jaipur gharana. She also learnt to play the Pakhawaj and studied vocal music.
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Joanna De Souza (born October 22, 1955) is a Canadian Kathak choreographer, dancer and teacher. She is the only Canadian born artist to achieve a master's degree in kathak dance through the Prayag Sangit Samiti, Allahabad, India.
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Maharaj Ghulam Hussain Kathak (1905 - 2001) was a classical dancer and teacher.
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Musical instruments such as tabla and others (left) accompany a Kathak performance.
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In 2007, she won the competition of classical dance kathak in India.
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However, her interest in dance was never great and the fact that she attended a non- descript dance-class in the neighbourhood did not conduce to high levels of accomplishment. She once replied to a dance examiner's routine query of "Aap kis gharaane ki Kathak naachti hain? (what is the style/school of Kathak to which you belong?)" with the retort, "Hum apne gharaane ki Kathak naachte hain (I dance my own style of Kathak)". She later switched to Hindustani classical music as her vocation of choice while maintaining the same individualistic attitude.
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In 1952, he joined the Bharatiya Kala Kendra (later, Kathak Kendra), New Delhi. He became the head of the Dance (Kathak) department. He was honoured with the Sangeet Natak Akademi Fellowship in 1967 and the Padmashri in 1956.
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Krishnan acted in films. He also taught Kathak. Actors like Priyanka Chopra, Katrina Kaif, Karanvir Bohra and Athiya Shetty learnt Kathak from him. He acted in films like Akele Hum Akele Tum, Raja Hindustani, Ishq and Dulhe Raja.
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She has been hailed as a dancer with grip over laya, neatly able to construct the structure of Kathak. A brilliant exponent of the Kathak form, her galaxy of performances are numerous and fabulous in their scintillating variety. She is particularly known to combine Kathak with other distinct art forms such as jazz drums, flamenco, qawwali, ghazals, performance poetry, kalaripayatu, modern dance, ballet, painting among others.
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Deepa Devasena (born Chidambaram, Tamil Nadu, India) is a popular Kathak guru of the Lucknow Gharana style in the Greater Milwaukee Area, practicing since 2003. She is the artistic director of the "Arabhi School of Indian Dance". Devasena is a trained BharatNatyam and Kathak dancer and teacher. She has studied under several prominent Kathak gurus, including Birju Maharaj, Saswati Didi, and gurus Nirupama and Rajendra.
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Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical instruments.
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She has written a book "In Praise of Kathak" about her journey as a dancer and the techniques of Kathak. This book was released by Member of Parliament Hema Malini on 30 January 2015 at Samved's Rajat Jayanti Mahotsav.
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Cahiers d'ethnomusicologie. Anciennement Cahiers de musiques traditionnelles, (14), pp.290-299. She was trained in Kathak by her mother, Asha Joglekar, a Kathak danseuse and instructor. In 1963, her mother founded a dance school in Mumbai called Archana Nrityalaya.
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Manjari Chaturvedi is an Indian Kathak dancer. She belongs to the Lucknow Gharana.
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Gauri Jog obtained Bachelor of Science and Nutrition and Masters in Education from University of Nagpur. She has attended numerous workshops by eminent Kathak Gurus from India including Pandit Birju Maharaj. She practices combination of Lucknow and Jaipur Gharana of Kathak.
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A few years later, another noted guru at the Kendra, Munna Shukla also retired, he now teaches at Bhartiya Kala Kendra and teaches in East Delhi. In time, Uttar Pradesh Government, established a state Kathak Kendra in Lucknow in 1973, with Lachhu Maharaj, brother of Shambu Maharaj as its founding director, and Rajasthan Government established, Jaipur Kathak Kendra. Both places are known for their respective gharanas of Kathak.
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Veeru Krishnan (died 7 September 2019) was an Indian film actor and Kathak dancer.
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Says Saswati, "My mother had enrolled me at Bhartiya Kala Kendra to learn Kathak under Reba Vidyarthi. I took to Kathak like a duck to water." After receiving her initial training at Delhi’s Kathak Kendra under the guidance of Smt Reba Vidyarthi, she received the National Scholarship in Performing Arts and graduated to become the prime disciple of Pt Birju Maharaj. As the foremost disciple of Pt Birju Maharaj, she stands tall among her contemporaries in the way she has embellished Kathak by integrating the sacredness of a tradition with the creativeness of a contemporary approach.
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Raghav is married to Kathak danseuse, choreographer Mangala Bhatt, who is the senior disciple of Pt Durga Lal Ji. They perform together and continue to take their passion for arts forward through their learning centre - Aakruti Kathak Kendra. They live in Hyderabad, India.
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Puru Dadheech is the first Doctorate (D.Mus) in Kathak in the world. Research dissertation Kathak Nritya ka Udbhav aur Vikas by Prayag Sangeet Samiti He is the first ever dancer to receive the Mahamahopadhyay (Hon. D.Lit) from Akhil Bharatiya Gandharva Mahavidyalaya Mandal.
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She conducts classes in Kathak at the Uma Dogra School of Kathak in Mumbai. She has trained several students, of which few are from Bollywood. Sonam Kapoor, and Rachana Parulkar are trained by Uma Dogra. She was honored as Pandita in 2004.
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They have given Kathak performances at Bhagavatam festival and at Bharatiya Vidya Bhavan in Chennai.
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Bohra received training in the Kathak dance style for two years with Pandit Veeru Krishnan.
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152 The Kendra also became a venue for innovation in the form and presentation style of Kathak, merging formats from both the Lucknow and Jaipur gharana in the coming decades. This was also the period of experimental works, which showed a progression away from the canonical motifs and themes of Kathak, like Radha Krishna, Chhed Chhad, Gat Bhav and Tode Tukde. In 1980, when Keshav Kothari was the Director at the Kendra and also Secretary of Sangeet Natak Akademi, a work title, Parikrama was choreographed by Birju Maharaj, in which Kathak was used to depict the natural rhythm that runs through all animate objects. In 1982, Kathak Kendra started organising two national-level Kathak festivals annually, 'Kalka Bindadin Festival' and 'Sharad Chandrika Festival', focussing of group and solo performances respectively.
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In 1990, Mangala along with her husband started Aakruti Kathak Kendra in Hyderabad, to take forward their mission of promoting, popularising and propagating classical Kathak dance. Where numerous students engage with Kathak through a range of activities such as weekly dance classes, workshops, lecture - demonstrations as well as research into the interfacing of Kathak with other Indian and Western art forms. Mangala along with her husband have received many state, national and international accolades and awards for her enormous contribution in the field of arts and culture, and has also been conferred the prestigious Telangana State Award by Chief Minister K Chandrasekhar Rao. Mangala is an empanelled artist of Indian Council for Cultural Relations (ICCR), Doordarshan and has been associated with Sangeet Bharti, Kathak Kendra and ICCR for national and international projects.
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Mangala Bhatt Mangala & Raghav Raj Bhatt receiving the State Award from K Chandrasekhar Rao Mangala Bhatt is a prominent exponent, dancer, choreographer and guru of Kathak dance. She is the senior disciple of Kathak maestro Pt. Durga Lal Ji of Jaipur Gharana. Her solo, duet and group productions have been staged at numerous prestigious festivals in India for the last 35 years. She is also the founding director of Aakruti Kathak Kendra.
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Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – Jaipur, Benares and Lucknow. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), the movement harmonized to the music, the legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, stage movements, bends and turns.
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They are the creative directors of Aakruti Kathak Kendra which they founded in 1990, in Hyderabad.
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Noted musicians, singer and dance guru of the era worked at the Kendra, including Siddheshwari DeviShambhu Maharaj, Birju Maharaj, Munna Shukla and Leela Samson. Kathak Kendra was originally established as the Kathak wing of the Shriram Bharitya Kala Kendra, in 1955, through the efforts of Nirmala Joshi, the first secretary of the Sangeet Natak Akademi, under the patronage of Sumitra Charat Ram, wife of industrialist, Lala Charat Ram of Shriram Group. here noted Kathak guru, Shambhu Maharaj, taught and his nephew Birju Maharaj. It was later taken over by Sangeet Natak Akademi and shifted to nearby Mandi House to become the National Institute of Kathak Dance.
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The north Indian Kathak dance differs from the south Indian Bharatanatyam in several ways, even though both have roots in the Hindu text Natya Shastra. Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while Bharatanatyam is more extroverted and expansive. Kathak is normally performed in a standing form with legs and torso typically straight, while Bharatanatyam extensively utilizes bent knee form (ara mandi, half sitting position that is somewhat similar to Demi Plié ballet move). Kathak is also different from Kathakali, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas.
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Through 1950s, SBKK remained focal point for top dancers and musicians of the period, especially leading gurus of Kathak gharanas, and Delhi became a centre for cultural revival as well new creative burst in performing arts. National Institute of Kathak Dance or Kathak Kendra was originally established as the Kathak wing of the Shriram Bharatiya Kala Kendra, in 1955, and was later taken over by the Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama in 1964.Massey, p. 29 In February 2011, the first 'Sumitra Charat Ram Award for Lifetime Achievement' established by Shri Ram Bhartiya Kala Kendra was award to Pandit Birju Maharaj .
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Nahid Siddiqui is a Pakistani Kathak dancer . She is considered to be a leading kathak dancer in the world . She is the daughter of Talat Siddiqui, sister of Arifa Siddiqui and wife of Zia Mohyeddin . She taught dance in the UK since 1970s and in Pakistan .
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Kathak is one of the eight major forms of Indian classical dance. The origin of Kathak is traditionally attributed to the traveling bards of ancient northern India known as Kathakars or storytellers. The term Kathak is derived from the Vedic Sanskrit word Katha which means "story", and Kathakar which means "the one who tells a story", or "to do with stories". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music.
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The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve classical Indian instruments or more in versions with synthetic innovations. The most common instruments that go with Kathak are tabla (a pair of hand drums) that syncs with the dancer's feet rhythms, sarangi or harmonium with manjira (hand cymbals) that meters the tal (cycle), and other instruments to add effect, depth and structure to the expressive stage of a Kathak performance.
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Maya Rao (2 May 1928 – 1 September 2014) was an Indian classical dancer, choreographer and educator, in Kathak dance. She is known for her pioneering work in Kathak choreography, especially in dance ballets, and is credited for bringing Kathak, a North Indian-dance style to South India, when she opened her dance school, Natya Institute of Kathak and Choreography (NIKC) in Malleswaram, Bangalore in 1987. She was also the founder director of her dance company, "Natya and Stem Dance Kampni", an amalgam of NIKC and the STEM Dance Kampni ( founded by her daughter Madhu Nataraj) based in Bangalore. After her early training under Guru Sohanlal of Jaipur Gharana, followed by Guru Sunder Prasad also of the Jaipur Gharana, and went to train under Guru Shambhu Maharaj of Lucknow Gharana at National Institute of Kathak Dance in Delhi.
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Her mother Kshama Deshpande is a Kathak dancer and disciple of the Kathak maestro Gopi Krishna. She grew up in Delhi, attending school in Loreto Convent and studying Economics (Hons) in Lady Shri Ram College for Women, Delhi University. She lives with her husband and daughter in Mumbai.
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She was first trained as a child by her mother in Kathak and Rajasthani folk dance, and later trained in the Kathak style by Shovana Narayan. She was involved with many dance teams in college and with her teacher. They would incorporate social issues into their dance routines.
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Her father Suresh Deshpande was a noted writer and director of Marathi plays and films. Her mother Meena Deshpande is kathak alankar, dance teacher and theatre actress. Her sister Mrunal Deshpande is a Kathak Visharad and actress. Guru married Abhijit Guru, a well known writer, actor and director.
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The expressive (nritya) stage of the Kathak dance, dressed in Hindu costumes. Nritya is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya, the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer. The expressiveness of Kathak is also found in other classical dances of India.
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Apart from contributing to the propagation of Kathak through her performances, Rani Karnaa is credited with integrating the traditions of Jaipur and Lucknow gharanas. Many critics have acknowledged her contributions in bringing different cultural traditions into Kathak, by integrating their literature, music and dance. She is said to have combined artistry with creative expression. She has done research on the aesthetics of Kathak with Professor S. K. Saxena of Delhi University and the body of that research work is well recognized.
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Kathak dance attained new heights of popularity and glory under his expert guidance and lavish patronage. Thakur Prasadji was his Kathak guru, and the unforgettable Kalka-Binda brothers performed in his court. What with the grand pageantry of the Rahas, Jogiya Jashan, Dance-dramas, and Kathak performances, Lucknow became the magnetic cultural centre where the most reputed musicians, dancers and poets of the time flourished. The greatest musicians, dancers and instrumentalists of the time enjoyed his munificent patronage and hospitality.
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She has been practicing dance since the age of four and did her master's degree in Kathak dance.
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The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide. According to Drid Williams: Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian- Persian dance form, and the Kathak dance performers were called the "nautch girls" (or natch, a derivative of the more difficult to pronounce Sanskrit natya).
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Shovana Narayan is a famous and recognized Indian Kathak dancer. She had dual career, in parallel, as a Kathak artist and a career officer with Indian Audit and Accounts Service. She performs in India and around the world, and has been awarded the Padma Shri. Her guru is Birju Maharaj.
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Sharmistha Mukherjee (born 30 October 1965) is an Indian Kathak dancer, choreographer and politician of the Indian National Congress.
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Manorama has two children, eldest a son and the youngest, a daughter, Navina Jafa, a locally known Kathak dancer.
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A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song. The costumes of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies.
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She could return to live with her parents' only when she was eight. She had met Rabindranath Tagore, and was encouraged by him to revive the lost Indian performing arts (like kathak), after that he died, and ensure elevation of them to a dignified status. Sukhadev Maharaj decided to realise this goal by contributing to reforming the kathak style of dancing. At that time, kathak was being performed by nautch girls or boys, and girls of decent families were not expected to learn this style of dancing.
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Karim appeared as a judge on the reality television show Lux-Channel i Superstar throughout 2014. Karim performs Kathak dance.
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"Madhuri Dixit, the queen of dance and expressions turns 47 today". India Today. She kindled an interest in dance at an early age of three, and went on to train in Kathak for eight years; later on becoming a professionally trained Kathak dancer. Dixit received her education at Divine Child High School in Andheri.
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From 1992 to 1993 she was studying under actress Neena Gupta to pursue her dream to be an actress. She is also trained under Muzammeel Vakil, a theatre acting coach from 1992 to 1995. Ashwini is also a trained Kathak dancer.Ashwini Kalsekar:An Actress & a Trained Kathak Dancer Ashwini was married to Nitesh Pandey in 1998.
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She stopped performing dances in movies, as they were adversely affecting her study in the classical dance, kathak. Rabindranath Tagore described her as Nritya Samragni ( नृत्य सम्राज्ञी ), meaning the empress of dance, after watching her performance when she was just 16 years old. The epithet continues, and she is still described as the Kathak queen.
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Soon, her younger sisters, Uma and Chitra, six years and four years old respectively, started learning Kathak from under Guru Sohanlal, while she at age twelve was considered too old for Kathak. Finally, her father allowed her to start her Kathak training in 1942, with a promise to never dance professionally or on stage, which she was soon break. She learnt from him for next two years. However, when she gave a first performance in 1944, at the Town Hall for a Saraswat Samaj community programme, her father didn't object.
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The term Kathak is rooted in the Vedic term Katha (Sanskrit: कथा) which means "story, conversation, traditional tale". Kathak refers to one of the major classical dance form primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and other major classical dances found in South Asia. It differs from the numerous folk dance forms found in north and other parts of the Indian subcontinent. The Kathak dancers, in the ancient India, were traveling bards and were known as.
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Munna Shukla (born 7 December 1943) is a Kathak guru and choreographer of Lucknow Gharana based in New Delhi, India. Born to a family who has been involved in dance for generations, Munna Shukla specializes in Kathak, a classical dance form of North India. He is a grandson of the noted Kathak Maestro, Late Achhan Maharaj, and a nephew of Birju Maharaj. In 2006, he was awarded the Sangeet Natak Akademi Award, the highest award for performing artists, conferred by the Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.
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With the spread of colonial British rule in the 19th century India, Kathak along with all other classical dance forms were discouraged and it severely declined. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism. Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in Church Missionary Review when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.
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Such as Dr. Purnima Pandey highlighted the progress in Kathak dance in terms of teaching and formulating Kathak syllabus, his fine skills in teaching and rich compositions that Dr. Dadheech had institutionalized during his 15 year tenure at Bhatkhande Sangeet Mahavidhyalaya Lucknow. Dr. Sandhya Purecha appreciated the course on Bharat’s Natyashastra that Dr. Dadheech has recently curated with relevancy to Kathak dance. Critic Manjari Sinha mentioned how Dr. Dadheech taught children the art of drawing and ended up not only learning professional dance but also teaching it as well.
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She brings to life traditional "art of storytelling" through the technical elements in Kathak. She is very popular especially among younger generation due to her unique approach to combine some Bollywood steps and Yoga into the Kathak while taking care not to cross the boundaries of tradition. Her experiments with combining Kathak with Flamenco, Bharatanatyam, Odissi, Mexican and American Ballet have won many accolades. Since 1999 Gauri JogArtist India Gallery, Artist Gauri Jog, 17 January 2006 and her group have performed more than 325 dance shows in North America and India.
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Given the tawaifs' environment, their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed nakhra (mischievous playfulness). Wajid Ali Shah started two distinct forms one is Rahas and the other one is called Raas. He himself choreographed a dance based on the moves of Kathak called, Rahas, that he danced himself with the ladies of his court. For him, Rahas was a dramatic form of theatre including acting, dancing, and music and with different scenes the whole setting and locale changes.
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Although her forte was kathak, she was also an accomplished dancer in many other styles of dancing including Bharatanatyam and many forms of folk dances of India. She also learned the Russian ballet, and other dances of the western world. With advancing age, her dancing activities diminished, and she was working on compiling a book encapsulating the research done by her father and her in the field of dancing, especially in kathak style of dancing. She taught kathak dancing to Bollywood celebrities such as Madhubala, Rekha, Mala Sinha, and Kajol.
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Katya Tosheva, a Bulgarian practices Yoga, an ancient Indian exercise and mastered the Indian classical dances of Bharatnatyam, Kathak and Odissi.
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She wanted to drop out of school but her parents insisted that she at least complete her schooling. After finishing her Plus Two, she stopped studying. Sharma is a gymnast. She has been dancing since the age of three and has completed her graduation in Kathak from the Natraj Gopi Krishna Kathak Dance Academy in Mumbai.
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After studying Forestry for one year at Lakehead University in Thunder Bay, she moved to British Columbia, and then traveled to California in 1978, where she began studying Kathak under her first and current teacher, Pandit Chitresh Das. De Souza received her Bachelor's and master's degrees in kathak through the Prayag Sangeet Samiti, standing first in all of India.
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De Souza married tabla player, Ritesh Das in 1981. In 1988, they moved to Toronto and together, established M-DO/Kathak Toronto and the Toronto Tabla Ensemble. Since then, De Souza has been teaching Kathak to students in Toronto. She has performed all over Canada and India and has been the recipient of numerous grants and awards.
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Regarding collaborations with other artists, Rohini known the Hindustani classical tabla player Chandrakant Kamat when he came to Pune in 1952. The musical association of both artists lasted for 15 long years. Rohini also made a comparative study of abhinaya in Kathak and Bharatanatyam with Kalanidhi Narayanan. She was a close friend of Reba Vidyarthi, another important Kathak exponent.
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Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal adds ornamental notes, shorter, moody and celebratory. The ancient practice of dancing on Dhrupad has been reintroduced into recent times by Dr. Puru Dadheech. Dr Dadheech is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra.
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Family Background : He was born in the early 1920s in Jaipur, Rajasthan, the eldest of four brothers and a sister. He was trained in Kathak from the age of four. His brother's B. Hiralal, B. Chinnilal and B. Radhesham were also trained in Kathak. Sohanlal and his family left Jaipur to seek their fortune in the South.
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Nighat Chaodhry (Urdu: نگہت چودھری) is born on 24 February, in Lahore Pakistan and moved to London when she was one year old. She is a trained Sufi & Mystique Kathak classical dancer. She started her journey from London and has been active as a professional Kathak dancer for over three decades. She studied ballet and contemporary dance.
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Gopi Krishna was an exponent of the Benares Gharana style of Kathak. He incorporated many elements of Kathakali and Bharatnatyam in his dance.
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Nirupama and Rajendra (ನಿರುಪಮ ಮತ್ತು ರಾಜೇಂದ್ರ) are noted Indian classical dancers in the Bharathanatyam and Kathak dance forms. They are from Bengaluru, Karnataka.
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He not only made Kathak as the official court dance, but using it in performances of rahas made it popular among the people.
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The end of princely states in post-independence after 1947, brought an end of royal patronage to Kathak exponents as well as gurus. Many started teaching privately. Earlier, under the patronage of Awadh state, Lachhu Maharaj moved to Bombay, while his brother, Shambhu Maharaj, and his nephew moved to Delhi in 1955. Kathak Kendra was originally established as the Kathak wing of the Shriram Bharatiya Kala Kendra, in 1955, through the efforts of Nirmala Joshi, the first secretary of the Sangeet Natak Akademi, under the patronage of Sumitra Charat Ram, wife of industrialist, Lala Charat Ram of Shriram Group.
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Gauri Jog is a Kathak dancer, Choreographer and research scholar from Chicago. She has been practicing Kathak dance and considered as an exponent of Lucknow and Jaipur Gharana. Her creations include Krishna Leela,Asian Media USA, Krishna Leela – an artistic portrayal of Lord Krishna’s life story, 14 April 2014 Shakuntala, Jhansi Ki Rani, Kathak Yatra,Jog/articleshow/12452430.cms Times Of India, Journey of Indian dance by Gauri Jog, 29 March 2012 East meets West, Fire - the Fiery TaleNarthaki, Fire – the Fiery Tale - Gauri Jog and her group captivate the audience, 17 March 2007 among others.
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Aditi Mangaldas (born 1960) is a Kathak dancer and choreographer who works with the traditional repertoire of Kathak. A former student of Kumudini Lakhia and Birju Maharaj, she remained one of the principal dancers in the latter's troupe for several years, before starting her own dance institution in Delhi, the Drishtikon Dance Foundation, where she is the artistic director and principal dancer.
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Tejashree (born Sonali Jaikumar Khele) is an Indian film actress who has appeared predominantly in Tamil films. Besides, she has also acted in Telugu, Kannada, Gujarati and Marathi films. Tejashree is originally a kathak dancer, trained in kathak by her father Master Jaikumar Khele, a disciple of Pandit Gopi Krishna Maharaj. After a few modeling assignments, she broke into the southern film industry.
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It is rare for someone born in Southern India to play the north Indian tabla. These days Joy is teaching at the Kadamb University in Ahmedabad and accompanying the Kathak dance. He first came to Europe in 2005. He does not only play for Kathak dance but also has a good understanding of Flamenco •Parrondo, Jose (born 1959, Carmona, Sevilla, Spain).
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The costumes vary among Kathak performers, and are either Hindu or Muslim. The Hindu costume for female dancers has two variations.One is based on a Sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left.
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Kallianpurkar was born on 12 August 1913 in Bangalore, Karnataka. He was trained under Sunder Prasad, Achhan Maharaj, and Shambhu Maharaj. He helped Sunder Prasad to set up a Kathak dance academy in Mumbai in 1937. In 1939, he was appointed as a Kathak teacher at the Marris College of Music, later Bhatkhande Music Institute, in Lucknow, from where he retired in 1967.
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In 1970, Films Division of the Government of India released a documentary on the history and practice of Kathak, which features performances by notable Kathak exponents like Damayanti Joshi, Uma Sharma, Sudarshan Dheer and Shambhu Maharaj, besides Roshan Kumari. Later she also worked as a choreographer in Hindi feature films such as Gopi, Lekin... (1990), Chaitali (1975) and Sardari Begum (1996).
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Sanedhip Bhimjee is a famous Kathak Dancer and Choreographer in Mauritius. He was born on 17 March 1970 and he started his career with modeling. He started learning Kathak since the age of 18 in Indira Gandhi Institute. He first appeared in the stage with Pramila Virahsawmy at Plaza Theatre in Rose Hill for the occasion of Gujarati festival in Mauritius.
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Chitresh Das came to the United States in 1970 on a Whitney Fellowship to teach Kathak at the University of Maryland. In 1971, Pandit Das was invited by Ustad Ali Akbar Khan to the San Francisco Bay Area to teach Kathak and establish a dance program at the Ali Akbar College of Music (AACM) in San Rafael, California.Morelli, Sarah. 2007, pp8.
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Uma Dogra's School of Kathak is run by Uma Dogra in Mumbai. Its activities include classroom teaching, workshops, master classes, performances, seminars and festivals.
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His compositions include Shan-e-Mughal (a full-length dance drama), Tratak, Kathak Prasang, Anvesha, Kraunch-Badh, Chaturang, Anga-Muktri, Raganvita, Goverdhan, Bahar, and Kathakayan.
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The company was founded by Anuya Mhaiskar, who has a degree as a Kathak dancer. Mhaiskar and her brother Sachin Awasthee are the company's producers.
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Jasraj, Shahid Parvez, Shashank, Vocalist Pritam Bhattacharjee, Vijay Ghate, Ajay Pohankar, Manjari Chaturvedi (Sufi Kathak) and Sanjeev Abhyankar. The festival was hosted by Durga Jasraj.
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Akram Hossain Khan, MBE () is an English dancer and choreographer of Bangladeshi descent. His background is rooted in his classical kathak training and contemporary dance.
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At the age of eighteen, she began her training in Kathak dance under Smt. Reba Vidyarthi of the Lucknow Gharana. Under the guidance of Smt. Vaswati Mishra, Dayal has since been awarded her second Post Diploma at the Kathak Kendra in New Delhi. Her first experiences abroad were in Europe and Mauritius in the years 1995/1996 as a member of a company of twelve artists.
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Kathakas, or Kathakar. Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh. Another variant that emerged from ancient Kathak is Thumri. Thumri was developed by the tawaif community who were called "nautch" dancers by the British.
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Growing up in his parents' dance school in Calcutta, Nritya Bharati, Pandit Das was surrounded by literary artists, poets, dancers, and gurus. He recalled iconic dancers such as Rukmini Devi Arundale, Uday Shankar, Balasaraswati and the legendary Shambhu Maharaj coming to visit his home. Das began his study of Kathak at age nine under Kathak guru, Pandit Ram Narayan Misra, a disciple of Shambhu and Acchchan Maharaj.
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Uma Dogra is a ganda bandh shagird of Pt. Durga Lal. She learned Kathak under Reba Vidyarthi and Pt. Birju Maharaj from 1969 to 1972. From 1972 to 1984 she learned Kathak under guru Pt. Durga Lal and danced in productions SBKK, Ramleela, Surdaas, Shah-ne-Mughal. She moved to Bombay in 1984 and worked with Hema Malini in Nritya Bharati, Nupur serial and Ballet Meera.
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Together with music, dance in Lucknow developed strongly and became a pre-eminent art under the patronage of Wajid Ali Shah. In the ancient times Kathak being the part of the temple ritual was performed at temples. With the change of time the Kathak performers in search of better prospects and rich patronage left the temple and entered into royal courts. The transformation was inevitable.
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It was at his reign that Lucknow Gharana came into existence. It was in this period that the Lucknow Gharana of Kathak attained maturity, through the efforts of the stalwarts like Thakur Prasadji and others. The Lucknow style of Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Abhinaya, concern for movement shape and creative improvisations are the hallmarks of this style.
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At Kathak Kendra, New Delhi, Mangala initially trained under late Shri Kundanlal Gangani Ji and later took advanced training under the Kathak Maestro late Pandit Durga Lal Ji, from whom she absorbed his brilliant technique and mastered the dazzling cadence and subtle nuances of Kathak. Her work and sincere efforts received praise and took her to major productions choreographed by Guru Pt. Durga Lal Ji and Pt Birju Maharaj Ji. She also took guidance from Guru Smt Rohini Bhate Ji much later. Mangala's abhinaya has been particularly appreciated because of her nuanced expression and inherent precision. Her artistic and aesthetic elegance have received high applause from both critic and rasika alike.
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Kathak is found in three distinct forms, called "gharanas", named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement , stage movements, bends and turns.
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The theory and foundations of Kathakalī are same as other major classical Indian dances, traceable to Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive. Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting. Kathak traditionally has included female actor- dancers, unlike Kathakali which has traditionally been performed by an all- male troupe.
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Kathak is traditionally attributed to the traveling bards of ancient northern India, known as Kathakas or storytellers. The term Kathak is derived from the Vedic Sanskrit word Katha meaning "story", and kathaka in Sanskrit means "he who tells a story", or "to do with stories". Kathak evolved during the Bhakti movement, particularly by incorporating childhood and amorous stories of Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. It transitioned, adapted and integrated the tastes and Persian arts influence in the Mughal courts of the 16th and 17th century, was ridiculed and declined in the colonial British era, then was reborn as India gained independence.
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Namrrta Raai (Hindi: नम्रता राय) is an Indian classical Kathak dancer and choreographer. She is a disciple of Late Dr. Madhukar Anand and Pt. Udai Mazumdar.
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This is a list of the Sangeet Natak Akademi awards for the Indian classical dance form of Kathak, as well as gurus and well-known performers.
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Nilaanjana is an Indian film actress in Hindi films and Indian Classical Dancer. She has performed the Indian dance form Kathak in more than 200 shows worldwide.
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Vidyadhar Oke is married to Bhagyashree Oke. She is a Kathak Dancer. They have three sons, Anand, Amod and Aditya Oke. Aditya is also a harmonium player.
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Vidyagauri Adkar She has worked on Kathak dancing and has given many brilliant performance. She has performed in many parts of India and also in South Africa.
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From 1968 to 1975 he imparted training to advanced Kathak students, both Indians as well as foreigners, at Kala Chhaya, Pune. During this period, he also choreographed many duet and group compositions such Talmala, Talchakra, Himraja, Rajput-Ramani, Shahi-Mehfil, Hindola, Kathak ki Kahani, Holi and Tarana. He also choreographed full-length dance dramas like Kaliyadaman, Makhanleela, Banseeleela, and Shyam Bansuriya. Shukla has been well acclaimed by connoisseurs and the press.
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The head has a cover scarf and the jewelry is light. The Hindu costume for male Kathak performers is typically a silk dhoti draped around the waist, then usually covered with a silk scarf tied on top. The upper body may be bare, show the Hindu thread, or be covered with a loose jacket. Kathak male artists also wear jewelry, but often of stones and much simpler than the female artists.
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Pandit Lachhu Maharaj (1901–1978) was an Indian classical dancer and choreographer of Kathak. He came from a family of illustrious Kathak exponents in Lucknow, and also worked as film choreographer, Hindi cinema, most notably Mughal-e-Azam (1960) and Pakeezah (1972). He was awarded the 1957 Sangeet Natak Akademi Award, the highest award for performing artists, conferred by the Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.
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After graduating from Swarthmore, she was awarded the Thomas J. Watson Fellowship to study religious dance in Thailand, India, and Brazil. While studying in India, she was introduced to Kathak, a form of Indian classical dance. She began studying Kathak and researched the connection between choreography and interculturalism. Lee returned to the United States and earned a Master of Fine Arts degree in Dance at the University of California, Los Angeles.
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Textual studies suggest that "Kathak" as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Allahabad, Uttar Pradesh, who credited Hindu God Krishna appearing in his dream and asking him to develop "dance as a form of worship". Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature. The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids (gopis) – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism.
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She started her career as a teacher at the age of 19, at the Rashtriya Kala Mandal in Jodhpur and then at Jaipur Kathak Kendra as Kathak Nritya Guru in 1978 and served that institution for 28 years and retired as Principal in 2006. Currently she is imparting kathak training at Geetanjali Music Society, Jaipur. She has groomed many Shishyas including her own daughters who have turned out to be performing artists and teachers and are currently working at various organisations all over the globe. Some of her experimental productions conclude pure classical Gayaki like Dhrupad , Khayal , Tarana , Ashtapadis whereas others conclude folk lore and Ballets like Panihari, Kesariya Balam , Chaucer , Rajputani , Gangaur , Ghoomar , RadheyRani, Dashavtaar etc.
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In August 2015 she successfully conducted a two-week Kathak workshop for her students under the guidance of Nirupama and Rajendra, and showcased it through the recital "Jhoom 2015".
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She holds a degree in music (Sangeet Visharad), is trained in Odissi and Kathak classical-dance forms. She holds a Masters in Commerce and a Diploma in Mass Communication.
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Sudeshna Swayamprabha is a Bangladeshi dancer. She dances and choreographs classical dances such as Manipuri, Bharatnatyam and Kathak. She learnt dance from Amala Shankar and her mother Sharmila Banerjee.
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She envisioned formalizing her teaching, and planned to set up a Kathak training academy. She died on 25 November 2014, at Jaslok Hospital in Mumbai, after a prolonged illness.
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Born in 1960, Aditi Mangaldas was brought up in Ahmedabad, where she also did her Bachelor of Science from St. Xavier's College. She started training in Kathak dance under Kumudini Lakhia at Kadamb Centre for Dance in Ahmedabad at a young age. Later at the advice of her aunt Pupul Jayakar, she moved to Delhi to explore dance avenues in the city. Here she became a student of Birju Maharaj at Kathak Kendra, Delhi.
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Thereafter, she studied at the National Institute of Fashion Technology, and she took up jewellery-designing as a hobby. She designs most of the clothes that she wears in films and commercials. Riya is trained in Kathak and is still pursuing it under Vijayshree Chaudhury.Geeta, Smilee, Gayatri Take KATHAK Lessons – Bollywood Hindi Tamil Telugu Indian Music Videos and She is taking kickboxing lessons and has completed Level I of the 5 levels in belly dancing.
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Rohini Bhate authored several books in Marathi, including her autobiography, Majhi Nrityasadhana, a translation of the autobiography of Isadora Duncan, Mi Isadora, and an edited version of the Sanskrit manual of music and dance, Abhinaya Darpana, called Kathak Darpana Deepika. Rohini based several of his choreographies and creative projects in this ancient book. She also wrote numerous papers on Kathak. In 2002, she participate as herself in a German documentary movie called Time and Space.
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Roshan Kumari Fakir Mohammad is an Indian classical dancer, actor and choreographer, considered by many as one of the foremost exponents of the Indian classical dance form of Kathak. She follows the Jaipur Gharana and is the founder of Nritya Kala Kendra, Mumbai, an academy promoting Kathak. A recipient of the Sangeet Natak Akademi Award in 1975, she received the fourth highest Indian civilian honour of Padma Shri from the Government of India in 1984.
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Shafaq Naaz (born 7 February 1993) is an Indian television actress and trained Kathak dancer, known for her portrayal of Kunti in Mahabharat (2013–14) and Mayuri in Chidiya Ghar.
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Massey, p. 64 She received the Padma Shri in 1970, the Sangeet Natak Akademi Award for Dance in 1968, and had remained Director of the U.P. Kathak Kendra in Lucknow.
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There, she teaches Bharatanatyam, Kathak, and Odissi. She performs with her students at charity events and fundraisers, including the American Association of Physicians of Indian Origin (AAPI) convention in California.
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The state government awarded her a scholarship to learn Kathak from Guru Hazarilal in Bharatiya Vidya Bhavan, Mumbai. However, she left the course and returned to Odisha to concentrate on Odissi.
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She has toured extensively both nationally and internationally with her own work as well as for other companies such as Sonia Sabri, and has worked with dancers/choreographers including, Kumudini Lakhia, Nahid Siddiqui, Filip Van Huffel, Darshan Singh Bhuller, and Jonathan Lunn. Khayyam uses Kathak as the core of her work; in Laal Shaari, which combined live art process with Kathak movement and she presented at mac, it was selected for ROH2 Firsts. She has also appeared at the mac in Sonia Sabri's Red and zeroculture's production of Find Me Amongst the Black. In 2014, Khayyam adapted Federico García Lorca's play Yerma, setting it in a modern, inner-city British community to neo-classical Kathak dance and performed to live music with tabla, cello and vocals.
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Later, he moved to Mumbai, where the emerging film industry helped him to bring Kathak to a far wider audience. Lachhu Maharaj was acclaimed for the choreography of dance sequences in movies like Mahal (1949), Mughal-e-Azam (1960), Chhoti Chhoti Baten (1965) and Pakeezah (1972)Filmography IMDb. as well as his ballets like Goutam Buddha, Chandravali and Bharatiya Kissan. He was also the founder Director of the Kathak Kendra started by the Uttar Pradesh Government in Lucknow.
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Keremane Shivananda Hegde is the son of Shambhu Hegde and is another exponent of Yakshagana. He has toured abroad with the troupe and was also invited to participate in the Asia-Pacific Performance Exchange (APPEX) workshop held in the University of California, Los Angeles. He has also learnt Kathak and choreography under the guidance of Kathak artist Maya Rao. He is the current director of the institution and guru at mandali's training centre- 'Srimaya Yakshagana Kalakendra, Gunavante'.
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Pandit Durga Lal (1948 - 21 January 1990) was a renowned Kathak dancer of the Jaipur Gharana. He was born in Mahendragarh, Rajasthan. He is known for playing the title main role in the 1989 dance drama Ghanashyam; the music of which was composed by Pandit Ravi Shankar and was produced by Birmingham Opera Company. For his contributions to the field of Kathak form of dance he was awarded Padma Shri, the fourth highest civilian award, by Government of India.
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Following this, she joined STAR One in India to host the travel program Exotica. Jagtiani has also acted in several Indian plays and commercials and is trained in various forms of dance, including jazz dance and Latin dance. She began training in kathak in 2003, and enjoys attending Kathak performances. On 2 August 2007, Discovery Channel announced Jagtiani as the new co-host of Daily Planet, a daily science feature show on Discovery Canada, starting 4 September 2007.
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He has worked with famous music directors like A. R. Rahman, Rajan–Nagendra, Vijay Bhasakar, Hamsalekha, M.M Keervani, Raman Goukula and others. He also sung numerous title songs for Television Serials and Movies. He has composed music for several Kathak ballets for very famous kathak dancers like Rajendra , Nirupama Rajendra many more. He is an accomplished Performing Artist and has travelled across the globe and performed at various prestigious venues in Malaysia, Dubai, China, Singapore, Germany, France, Europe, Canada.
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Khanna started her Kathak training when she was about 7, from Pandit Birju Maharaj. She was born in Patna and was introduced to Bollywood under the suggestions of actresses Padmini and Vyjayanthimala.
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Massey, p. 83 Kathak is based on devotional Krishna poetry of the medieval centuries and the highly cultivated court poetry of the 18th and 19th centuries which celebrated shringara, the sentiment of love.
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In 1999, Joglekar opened a branch of this dance school in New Jersey, US.Archana Joglekar Dance Academy: How Archana Joglekar made Kathak a global art form. Chakpak News Service on 15 Jun 2011.
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Each student is expected to take up two activities each term. These include musical and creative activities such as craft, dramatics, sitar, tabla, vocal music, western music, bharatnatyam, kathak, folk dance and photography.
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Rohini Bhate (Marathi: रोहिणी भाटे) (14 November 1924 – 10 October 2008) was among the senior most Kathak dance exponents in India, who developed as a performer, teacher, writer, researcher and critic this Indian classical dance. During her career, she was awarded with several recognitions, such as the Sangeet Natak Akademi Award, and the Kalidas Samman. Rohini studied Kathak from Jaipur and Lucknow gharanas. She created a large corpus of dance compositions, where she applied an analytical and innovative approach to abhinaya.
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She is from Hyderabad, Telangana and she was born in Anantapur. Her father Yadhati Kasipathy is a revolutionary activist, thinker, orator, writer, poet and a journalist who worked hundreds of hours with Srirangam Srinivasarao for the development on revolutionary front and in the areas of language and literature. Her mother is Pushpalatha. She has learnt Bharata Natyam at the age of 4 and she learnt Kathak from the kathak exponent Pandit Anju babu and did her Arangetram when she was 16.
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Padhant in Hindustani classical music or Indian classical dance refers to the recitation of rhythmic syllables, known as bol, during a performance. The term is derived from the Hindi word padhna, meaning "to read, study or recite". Padhant is closely associated with the percussion instrument tabla and the classical dance Kathak, and the recitation of rhythmic patterns before playing them is considered an art in itself. The dancer in Kathak would pause at intervals to recite the rhythms before executing them through dance.
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Rachanaa Parulkkar is an Indian Television Actress , Model & Dancer.Rachanaa is a trained classical Dancer;Shagird of Uma Dogra in Kathak,Graduate in Bharatanatyam from Nalanda University Mumbai & a scholarship student of Terence Lewis (choreographer).
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Morelli, Sarah. 2007. PhD Dissertation. “From Calcutta to California”: Negotiations of Movement and Meaning in Kathak Dance. Harvard University: Cambridge, Massachusetts, pp34. Das frequently cited his mother, Nilima Das, stating, “mother is the first guru”.
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Shukla has worked with the students of Film and Television Institute of India, imparting training in classical dancing to them. He has also given dance direction in a few Marathi plays. He has prepared some of his famous disciples like Kavita Thakur, Shruti Shukla and Rakhi Dubey. Shukla has been associated with Kathak Kendra (National Institute of Kathak Dance) New Delhi, from 1976 till he retired in early 2000s, thereafter he continued to teach in East Delhi as well as at Bharatiya Kala Kendra.
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Each ankle is adorned with small bells (ghungroo), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a nritta is perfectly timed to the musical beats (tala) and tempos, and the footwork sequences are called tatkars. Most of the Nritta performance is abstract, fast and rhythmic aspect of Kathak. In a Kathak nritta, as with all classical Indian dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern.
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In 1952, she visited China as a member of Indian cultural delegation. This travel was an opportunity to her to study old scriptures relating to Indian dances and drama, and thus refined her technique. She served on the committee of Khairagarh University and guided the preparation of syllabi for Kathak courses at Lalit Kala Kendra, University of Pune, where she served as Visiting Lecturer and Guru. Rohini also served as an examiner for students in the Delhi Kathak Kendra, although she never adopted its curriculum.
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Pasha teaching Dance to Visually Impaired GirlsSyed Sallauddin Pasha, born in 1968, hails from a family of healers from Anekal, Karnataka, India. As a child he enacted lead roles in Kannada and Sanskrit plays and Studied Carnatic music from TS Ramamani. He studied Bharatanatyam under late K. P. Kittappa Pillai, Narmada and Padmini Rao and Kathak under late Maya Rao. He graduated as a Choreographer from Natya Institute of Kathak and Choreography, Bangalore University and Pasha studied Pharmacy and registered as pharmacist from Karnataka State Pharmacy Council.
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While Bharatanatyam, Odissi and Kuchipudi are the orthodox styles that claim to preserve the knowledge of the Natya Shastra most faithfully, Kathak is different from other styles as it is a mixture of the Persian dance and the Indian folk dance movements. It derives its name from the community of Kathaks, who are custodians of the art. It is from this house (ghar) or family that this form has taken its origin. The words Kathak and Kathakali are derived from katha meaning storytelling and kali meaning play.
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After having learnt the presentation of traditional items, she has widened the repertoire of Kathak by composing new dance numbers and full length dance- dramas on a variety of themes. Her dance drama Stree (Woman), has been known its powerful thematic content and artistic presentation. As a one-woman exposition Stree Kathak gives emotive thrust in depicting the position of Woman down the centuries and her search for an independent identity. Uma has performed all over the country and participated in many a national and international festivals.
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Born and brought up in Mumbai, Shalmalee worked with television channel Zee Marathi as a management trainee after completing an M.B.A from Welingkar College in 2011. Shalmalee is a trained Kathak dancer and has learned Kathak for 15 years. She is also a golf player. After winning "Lux The Chosen One" reality show in 2012, she became the official face of UTV Stars channel for the year 2013 In 2013, Desai secured her first television role in the soap opera Iss Pyaar Ko Kya Naam Doon?...
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Sangeet Natak Akademi is the national level academy for performing arts set up by the Government of India in 1952, which bestows Sangeet Natak Akademi Award as the highest official Indian goernment's recognition given to practicing artists, It has established several institutions including the Manipur Dance Academy in Imphal, Ravindra Rangshala Centers, Sattriya Centre, Kathak Kendra (National Institute of Kathak Dance) at New Delhi, Centre for Kutiyattam at Thiruvananthapuram, Chhau Centre at Baripada in Jamshedpur,Banaras Music Akademi, Oldest medicina family. and the Northeast Centre.
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She also learned the Kathak form of classical Indian dance from Achhan Maharaj and Manipuri dance from Nabha Kumar Sinha. In 1953, she did her M.A from Delhi University, and studied at Indraprastha College for Women.
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Pandit Sunder Prasad (died 29 May 1970 ) was a guru (teacher) of - Jaipur Gharana of the Indian classical dance form, Kathak. He received his training from his father Pandit Chunnilal and Bindadin Maharaj of Jaipur Gharana.
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The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in The Wrongs of Indian Womanhood, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as devadasis and tawa'ifs in mid 20th century literature). Many accused the dance form as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers. Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in colonial Britain and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out.
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Jayshree Arora (also spelled Joyshree or Jayshri) is an Indian film, stage and television actress, and a trained dancer of Kathak and Manipuri dance. She has played supportive roles in numerous Bollywood films and Hindi soap operas.
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Ragasiya is trained in various dance styles. She learned kathak from Guru Viru Maharaj and later from Habiba and Saroj Khan. She then learned hip- hop under Ganesh Hegde and was trained in salsa by Sandeep Soparkar.
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Abbas and the others convince Prithviraj that the one celebrating Eid was actually Abhishek's twin brother, from another mother, 'Abbas', an effeminate man and classical Kathak dancer. Things get worse for Abbas and Ravi when Prithviraj kindly hires Abbas for teaching Kathak to his sister Radhika (Prachi Desai). The more Abbas tries to balance his dual life without letting Prithviraj know, the more he has to lie to cover up other lies; this forms the crux of the story. The movie ends with a climatic cliff scene where both Abbas and Prithviraj make up.
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Massey, p. 29 Here Pandit Shambhu Maharaj, celebrated Guru of the Lucknow Gharana (school) of Kathak, was head of the department . In 1964 the institution became a part of the Sangeet Natak Akademi and in July 1969, the Akademi took over its functioning as well, and moved it to its new location at the nearby former Bahawalpur House, which also houses the National School of Drama. Shambhu Maharaj was a noted exponent of the bhava anga (emotive part), and, in the coming years, revived several classical thumris and bhajans and added them to Kathak repertoire.
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The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed. Although central asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement.
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Other rulers were Raja Bahadur Bhup Deo Singh, Raja Chakradhar Singh.Raigarh darbar by P. D. Ashirwadam Agam Kala Prakashan, 1990 On the contribution of Chakradhar Singh, Raja of Raigarh, 1905-1947, to Kathak dance and Hindustani music. Chakradhar Singh is noted for his contributions to Kathak and Hindustani music, especially for founding of Raigarh Gharana. The last ruler was Lalit Kumar Singh, his son succeeded him to the throne of Raigarh and ruled briefly before the Raigarh State was merged into Union of India on December 14, 1947.
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Shrimati Prerana Shrimali is among the leading Kathak dancers of her generation. A versatile dancer, she has evolved an individual style in her presentation and gained wide popularity as a soloist. She has also choreographed several productions including Doosro Na Koi – Verses of Meera, Aavartan, Vistaar, Vivriti and Aaratis. She has participated in several international dance seminars and conferences and has presented Kathak in the Festival of India in the U.K., the Asian Performing Arts Festival in Japan, the Avignon Festival in France, and the Dance Festival in Switzerland.
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The Kathak dance style was founded by the master Maharaj Binda Din. Kathak dancing performed by a dancer who stands and moves about and lasya (the aspect) in which the dancer kneels or remains immobile the whole time except for the (gat) a descriptive passage, performed in a gentle rhythm and tells stories with his expressive powers only, with his face and hands. On the physical side the dancer must have perfect control of his body and limbs, which is achieved at least 12 years of study. Special massage is given to the feet.
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His latest project, since 1994, fuses Northern Indian 'Kathak Dance' and Flamenco. These unique forms possess similar elements and it is the aim of this project to further extend and explore the common roots of the two cultures.
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While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments. According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic and kinesthetic similarities.
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In North India, the practice of reciting bols is usually limited to the percussionist reciting the composition about to be played, often in the context of a longer solo. These recitations are also sometimes spoken by a Kathak dancer.
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He married his wife Mrs. Kantha Sohanlal and settled in Chennai. From this marriage he had four sons and a daughter. He is considered to be the greatest exponent of Kathak - particularly in Hindi Bollywood cinemas, Tamil Film Industry.
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Next he studied under Birju Maharaj in National Institute of Kathak Dance in New Delhi. He also received training in ballet and contemporary dance, as well as tap and jazz for a year at the London Ballet Theatre School.
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Born into a Punjabi family, Sakshi hails from an Army background. She holds Economics (hons) degree from the University of Delhi. She then underwent training in acting, Kathak and Salsa. Sakshi is a trained swimmer, horse rider and a voracious reader.
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Eshan Hilal is a male Indian belly dancer. He grew up in Delhi, India in a Muslim family. He trained in the classical Indian dance technique kathak, the folk technique kaalbelia, and in bellydance. He performs professionally as a belly dancer.
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His disciples, Joanna De Souza and Gretchen Hayden went on to establish branches of Chhandam in Toronto (1990) and Boston (1992), respectively. Chhandam had 550 students enrolled at branches across North America in 2010.Keleher, Maureen. 2010. "The Journey of Kathak".
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Dr. Puru Dadheech is the only Kathak artist in India to have specially written and composed the Naayak Bheda – different types of heroes as well as conducting a workshop on rare compositions like 'Dashavatar' and 'Dhrupad' in 'Bhrama taal' (28 beats).
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Madhureeta Anand was born in New Delhi. Her father was an army officer and her mother a Kathak dancer who worked in television as a producer. Her father Col. V.K Pachauri was posted to various cities like Delhi, Pune and Udhampur.
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The term thaat is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of his or her performance.
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Mansi was born and raised in Delhi where she also took training in Indian classical dance, Kathak. Her Kathak training started when she was only 7 years old and she later became a Visharad (graduate) in the dance form. She studied Economics at Hansraj College in Delhi University and after finishing her graduation she opened her dance institute in Delhi—Mansi Dance Creations Her career in Bollywood movies started when she was first spotted by the famous film director, Anurag Kashyap, during a dance performance in Delhi. Anurag offered her to choreograph the critically acclaimed film, Gulaal.
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Shah is a Gujarati Jain by birth but her family has lived in Maharashtra for three generations. In an interview she admitted not knowing how to speak Gujarati but being fluent in Marathi because of her upbringing. She is a trained Kathak dancer and has performed in dance shows both nationally and internationally. She trained with her guru Ganesh Hiralal ji, of the seventh generation of the Hiralal family of the Jaipur gharana and holds the Guinness World Record for performing 93 spins in one minute and in 2015 was appointed as the Kathak ambassador by the Government of India.
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Maharaj Ghulam Hussain Kathak migrated to Karachi after the partition and lived there before moving to Lahore in his later years. He has been a major exponent in the arts and teaching of classical kathak dance in Pakistan, for over four decades.Rainbow of music and dance: national performing arts group, Ayesha Taslim, Pakistan National Council of the Arts Maharaj also appeared in 1995 Pakistani musical film Sargam directed by Syed Noor starring the singer Adnan Sami and his ex-wife Zeba Bakhtiar. This was followed by another appearance of Maharaj in a Pakistan Television play series.
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Roshan Kumari was born on Christmas Eve (year of birth uncertain) at Ambala in the north Indian state of Haryana (erstwhile Punjab) to Choudhury Fakir Mohammed, a noted Tabla player and Zohrabai Ambalewali, renowned classical and playback singer. She learnt the basics of Kathak from K. S. Moray and continued her studies at Maharaj Bindaddin School of Kathak, Mumbai under Sunder Prasad. Later, she also trained under Ghulam Hussain Khan and Hanuman Prasad and learnt Bharat Natyam from Govindraj Pillai and Mahalingam Pilai. Kumari has performed in many places in India including a special performance at the Rashtrapathi Bhavan.
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Qasim Riza Shaheen was initiated as formal dance disciple of Pakistani Kathak dancer Nahid Siddiqui (Disciple of Maharaj Kathak & Pandit Birju Maharaj) in the 1990s and continues to be under her tutelage to date. He has performed internationally with Nahid Siddiqui and Company as a dancer at venues including the South Bank Centre, London, Royal Albert Hall, London and at Auditorium Parco della Musica, Rome, Italy.Craig Ashley, Qasim Riza Shaheen: The last known pose, Exhibition Catalogue, mac Birmingham, Birmingham, 2014 His solo dance work has been showcased at the British Dance Edition 2008 held in Liverpool.
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Damayanti Joshi (5 September 1928 – 19 September 2004) was a noted Indian classical dancer in the Kathak dance form. She began in the 1930s dancing in Madame Menaka's troupe, which travelled to many parts of the world. She learnt Kathak from Sitaram Prasad of Jaipur Gharana and became an adept dancer at a very young age, and later trained under from Acchan Maharaj, Lacchu Maharaj and Shambhu Maharaj of Lucknow gharana, thus imbibing nuances from both the traditions. She became independent in the 1950s and achieved prominence in the 1960s, before turning into a guru at her dance school in Mumbai.
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Shovana has researched and discovered 8 Kathak villages near Gaya with documentary and official records. She collaborated with Sanskrit & Epigraphy scholar Dr KK Mishra, who discovered Prakrit inscription in Asokan-Brahmi script relating to Kathak dated to 4th century BC. She is the first dancer to have conceived, conceptualised and brought out a dance video on the philosophy and legend of the immortal Khajuraho temples entitled ‘Dance of the Temples’. She is the leading actor in films "Akbar’s Bridge" (Hindi) and "Das Geheimnis des Indisches Tanz" (German). Over 80 articles with in- depth research were published in several national newspapers, recognised journals etc.
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In 1946, she was offered a movie contract by Gemini Studios, in Chennai which she turned down. Three years later, in December 1949, she married Mohan Khokar, renowned art historian and dance scholar and a co-student at Kalakshetra and followed her husband to Baroda when he was posted there as the Head of Department of Dance, Maharaja Sayajirao University. In Baroda, Saroja learnt Kathak from Sundarlal and Kundanlal Gangani, noted Kathak gurus. In 1961, Mohan Khokar was posted as the Special Officer for dance at the Sangeet Natak Akademi and the couple moved to New Delhi.
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Born in Dehradun, Namrrta started receiving her training into Kathak at a very young age under the tutelage of Late Dr. Madhukar Anand, of Lucknow Gharana, in the Vedic system of receiving knowledge called guru-shishya parampara. A science graduate (PCM) from D.A.V. (PG) College, Dehradun she has a bachelor's degree in Kathak from Bhatkhande Music Institute, Lucknow where she was titled for Merit scholarship from 1998-2001 and the master's degree from Indira Kala Sangeet University, Khairagarh, Madhya Pradesh in the form of Lucknow Gharana, of which the doyen is Padma Vibhushan Pt. Birju Maharaj. In 2008, Namrrta began learning the complexity of Indian rhythms under the tutelage of tabla maestro Pt. Udai Mazumdar, a senior disciple of Pt. Ravi Shankar. A recipient of National Scholarship by Ministry of Human Resource Development, Government of India in 2009, Namrrta was awarded by SPIC MACAY scholarship under which she had the honour and opportunity to learn from world renowned Kathak maestro Pt. Birju Maharaj in 2009.
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Aroraa completed her graduation from Punjab University (1999–2003) before taking acting classes and settling as a TV artist. She has been practicing Kathak dance for over 15 years and has performed in many stage shows (including STAR Parivaar Awards in 2011).
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Ritu was born to Late Mr. Bhola Prashad Choudhary and Late Mrs. Asha Jaiswal on 1 March 1977 in Hajipur, Bihar. She has studied Bachelors of Arts (Economics) from Vaishali Mahila College. She is also a trained Bharat Natyam and Kathak dancer.
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Apara Mehta was born on 13 August 1960 to Ushakant Mehta and Mandakini Mehta in Bhavnagar (Saurashtra), Gujarat. She is the only child of her parents. Apara learnt Classical Music from Ghulam Mustafa Khan and also learnt Kathak at a young age.
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She was introduced to the art of Kathak by her Guru Najma Ayashah. While in Rajasthan on a Hindi/Urdu scholarship in 2005, Bali studied with Rm honorific Shashi Sankhla, guru- sister to Najma under Pandit Kundan Lal Gangani of the Jaipur Gharana.
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Aditi Bhagwat (born 18 January 1981) is an internationally renowned kathak and lavani expert, actress, dance tutor and choreographer. She travels all around the world participating in stage shows performing solo as well as in collaboration with many other Indian music artists.
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A number of guests are at the manor, including Doctor Shyam. A dancing girl (Aruna Irani) was also hired to performing mujra, a classical Kathak-style dance. The doctor goes to Sharmila's room to find her, and is spotted by Madan Singh.
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Alankrita Bora is an Indian film actress, model and a professional dancer based in Kathak, Bharatnatyam and Contemporary dance form, who made her Bollywood debut through 2018 movie Raja Abroadiya, directed by Lakhwinder Shabla. She also appeared in Nanhi Si Kali: Betiyaan.
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Vidyagauri Adkar (Marathi:विद्यागौरी आडकर) is Kathak dance exponents in India and representing the Jaipur gharana Indian classical dance. She has performed in many music festivals including Khajuraho Festival of Dances, Chilanka Dance Festival in Thiruvananthapuram, Festival of Dance and Music, Delhi etc.
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Ballesh can play various style’s in his shehnai, aalaapi and aakaar like khayal singing, jhala like sitar and sarod, tatkar like kathak-dancers, meend & harquatts like sarangi and violin, continuity of tone like been and also he adds sweetness of bansuri to all this.
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Jazz, ballroom, ballet, modern, and salsa dancing are also popular. Indian dance forms are also prevalent in Trinidad and Tobago. Kathak, Odissi, and Bharatanatyam are the most popular Indian classical dance forms in Trinidad and Tobago. Indian folk dances and Bollywood dances are also popular.
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Torsa's father Sheikh Morshed was a lawyer and her mother name is Sharmina Akter is a housewife. Her father died in 2014. She has a younger brother. Torsa is an artist , she is a trained Bharatnatyam and Kathak dancer , Theatre artist , Mime artist , Recitor , Singer .
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Prachee Shah Paandya (born 12 December 1979), also known as Prachi Shah, is an Indian film and television actress and an internationally renowned trained Kathak dancer known for her roles in television shows like Kyunki Saas Bhi Kabhi Bahu Thi and Ek Shringaar-Swabhiman.
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He has two children, elder daughter Nupur and younger son Mohit. Nupur is Kathak performer and vocalist and Mohit is a percussionist. His disciples include renowned dancers Uma Dogra, Jayant Kastuar and Mangala Bhatt amongst others. Nighat Chaodhry is Pandit Lal's notable student in Pakistan.
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Aditi Sajwan has all her life lived in different states of India as her father Pradeep Singh Sajwan had a transferable job. She was born in Dehradun, India. Her mother Vineeta Sajwan is a housewife. Aditi is a trained Bharata Natyam and Kathak dancer.
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Its various current forms include Bharatanatyam, Odissi, Manipuri, Kathakali, Kuchipudi, Mohiniaattam, Kathak and Sattriya. Bharatanatyam is a classical dance form originating in Tamil Nadu. It is thought to have been created by Bharata Muni. In ancient times Bharatanatyam was performed by mandir (Hindu temple) Devadasis.
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Azeem appears in both Hindi- language movies and in television series, including Phir Wahi Talash, Amrapali, The Sword of Tipu Sultan and Junoon. In 2014, she performed at the PanchTatva annual Kathak festival organized by Birju Maharaj's Kalashram at Bhartiya Vidya Bhavan Campus in Mumbai.
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Mukherjee was inspired by Deng Xiaoping and quoted him quite frequently. His hobbies were reading, gardening, and music. His daughter Sharmistha Mukherjee is a Kathak dancer and politician of the Indian National Congress. Mukherjee celebrated the Durga Puja at his ancestral home in Mirati village.
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Her dance has been featured in the film The Far Pavilions produced by BBC. She has herself directed a film, Pathrai Ankhon ke Sapne, for Doordarshan. Shrimati Prerana Shrimali was awarded Sangeet Natak Akademi Award for the year 2009 for her contribution to Kathak dance.
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Sharda Sinha Some of the major folk songs in Bhojpuri region are Kajari, Thumri, Sohar, Chhath Songs, Chaiti, Alha, Barahmasi, Phaag, Birha and Kaharwa. Sharda Sinha, Girija Devi, Malini Awasthi, Manoj Tiwari, Chandan Tiwari, etc. are the famous Bhojpuri folk singers. Dance Kathak, Kajri etc.
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Vandita lived in different cities due to her father's profession (Army). She always actively participated in sports and art during her schooling and college. During school, she took training for a few years in Karate and Kathak Dance. She is a yellow belt in Karate.
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Kapur was born in New Delhi to a Punjabi Hindu family. She learned classical dance forms when she was very young. She has four years of training in Bharatanatyam and eight years in Kathak. Kapur holds a degree in fashion design from the Pearl Academy.
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Archana Joglekar is an Indian actress and classical dancer who has appeared in Oriya, Marathi and Hindi films and television serials. Some of her noted films are Sansaar (Hindi), Eka Peksha Ek (Marathi) and Anapekshit (Marathi). She is a Kathak dancer and choreographer.Defrance, Y., 2001.
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Kathak Guru Dr.Shashi Sankhla is one of those few artistes who've made their presence felt on the international level .Born in the suncity Jodhpur, Rajasthan,her versatile journey of performing arts began under the guidance of famous KATHAK Gurus of Jaipur Gharana like Pandit Mool Chand Gometi ji and was further groomed by Pandit Mohan lal Maharaj ji and later on by Pt.Kundanlal Gangani ji of the Jaipur Gharana .She was fortunate enough to further enhance her knowledge in the field of Bharatnatyam by Guru Pratibha Pandit, Baroda Vocal Music under Pt.Kshirsagar ji and acquired proficiency in playing Pakhawaj under Pt.Badrinarayan Pareek ji and Folk Dances under Master Kasim ji.
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While staying within the structure of Indian classical music and art, Aditi has vastly experimented and succeed in mixing traditional dance art and music with Jazz and other kinds of western music. She was involved in the kathak and Electronic music collaboration with the band Kartik and Gotam: Business Class Refugees in France. She was also involved with the Issue Project with New York pianist Rod Williams. She has gracefully blended the stylized gestures of kathak and the sophisticated rhythm of the Tatkaar, Chakkradhars and different Taals with varying time cycles with instruments like the djembe, drums, ghumbri, cuatro, sarod, sitar and many more.
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Muthusami Pillai trained them for 7 years in between his film assignments. He took classes whenever he was in town. Sayee and Subbulakshmi were trained in Kathak dance by Gopi Krishna, who was a dancer and the choreographer for the famed Hindi film Jhanak Jhanak Payal Baaje.
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The festival opens with a procession to Nakki Lake. Other attractions of the festival include stage performance of Sufi Kathak and folk dances such as Daph, Ghoomar and Gair, and entertainments such as kite-flying, hot air ballooning, cricket, gilli danda, poetry reading and music performances.
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She trained in Bharatanatyam under Indira Kadambi and Minal Prabhu, and Odissi under Uday Shetty. She has also trained in Kathak under Guru Maya Rao and Jayanthi Eswarputhi, and Kalaripayattu under Ranjan Mullaratt. She also has the Arts Council England’s Artist Management credentials to her credit.
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Veena Sahasrabuddhe was born in a musical family. Her father Shankar Shripad Bodas was a disciple of vocalist Vishnu Digambar Paluskar. She began her early musical education under her father, and then under her brother Kashinath Shankar Bodas. She also learned Kathak dancing in her childhood.
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She was also a choreographer in the Hindi film, Umrao Jaan (1981), along with Gopi Krishna. She is a guru to many disciples, including Kathak dancers Aditi Mangaldas, Vaishali Trivedi, Sandhya Desai, Daksha Sheth, Maulik Shah, Ishira Parikh, Prashant Shah, Urja Thakore and Parul Shah amongst others .
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She was born to Motiram and Shakuntala Sharma in Malviya Nagar in New Delhi. Uma began to dance at the age of 7. She initially trained under Guru BansiLal and then Reba Vidyarthi at Kathak Kendra new Delhi. Later she joined Jaipur Gharana, Pt. Durga Lal.
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Shirin Vajifdar was born in Bombay, India. She had two younger sisters, Khurshid and Roshan. They were brought up in an orphanage in Bombay. In the 1930s, defying the disapproval of her community, Vajifdar began to learn Kathak with Sunder Prasad, a teacher from the Jaipur Gharana.
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She was born into a Brahmin family in Mayuram, India. Her sisters Rhadha and Vasanti are also dancers. At an early age Kamala began taking lessons in the Kathak dance style from Lachhu Maharaj in Bombay. She also took lessons in Hindustani classical music from Shankar Rao Vyas.
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Mangala was born in Kolhapur, Maharashtra and received her initial education in Kolhapur. On the advice of her brother Kiran Kulkarni, who was training at National School of Drama, she applied to the prestigious Kathak Kendra institute in New Delhi, India and got through on a national scholarship.
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He is founder & Director of " NaadSaptak Music Academy" in Pune. In his Music academy, Tabla, Sugam Sangeet, Harmonium, Kathak Dance classes are conducted. Many students are learning in "Nadsaptak Academy, Pune". Akshay is also a director of "Yuva Kshitij", an organisation of young artists in Solapur and Pune.
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Meenakshi Dixit was born in Raebareli, Uttar Pradesh. She is the daughter of Ishwar Chandra Dixit, a senior lawyer in Civil Court in Raebareli, and Geeta Dixit. She graduated with a degree in Bachelor of Science in Botany, Zoology, and Chemistry. She has trained in Kathak and western dance.
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The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the Bhagavata Purana, or the Indian Epics. This form of expressiveness is also found in thumri and Persian ghazals.
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When Krishna was identified with Vishnu, Granthikas began narrating Krishna-based stories. During this time, a rich musical theater form had grown out of the rich Krishna theater tradition of Mathura region. It is believed that Katha- Vachan, the earliest form of Kathak was exclusively based on Krishna's legend.
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She did her schooling at Mahatma School of Academics and Sports in Navi Mumbai and is pursuing Chartered Accountancy course from the Institute of Chartered Accountants of India. She is fluent in English and Hindi, in addition to her mother tongue Mewari. She is also a trained Kathak dancer.
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Jaikrishna Agarwal: painter #Raj Kumar Varma: Painter, Micro-painting #Krishn Kanhai & Govind Kanhai Gold-painter #Iftakhar Nadime Khan: Wood-Art #DR. Jagdish Gandhi: Education #Pro. Bhagirath Prasad Tripathi 'Wagish Shastri': Education #DR. Kumkum Dhar: Kathak #Geetanjali Sharma: Charkula dance #Sheetala Pandey 'Samir': film lyricist #Yogesh Gaur: Songwriter #DR.
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Shirin Vajifdar (died 29 September 2017) was an Indian classical dancer, choreographer, instructor and critic. She was one of the first Parsis who took up Indian classical dance. A doyenne of Kathak, she was an acclaimed performer and teacher. Her choreography in the film Mayurpankh (1954) was lauded.
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The Indian Cultural Centre was established in Suriname in 1978. The Centre provides training in Hindi, Kathak, yoga and Indian classical music. As of December 2016, there are approximately 80 voluntary Hindi schools in the country. Baithak Gana is a form of music originating from the Indo- Surinamese community.
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Banerjee, the only daughter of Subrata and Atasi Banerjee, a Bengali couple from Kolkata, came to Mumbai in 2013 to pursue her ambition to become an actress. A kathak dancer for the past 15 years, Banerjee has done several stage shows in Kolkata and has learned classical singing.
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In 2007, Das received an award from Bharatiya Vidya Bhavan, a national arts institution inaugurated by Mahatma Gandhi in India in 1938, for outstanding contribution in the field of Kathak dance!!! In 2009, Pandit Das was awarded the National Heritage Fellowship, the highest honour bestowed on a traditional artist by the US Government. Das received the award, signed by President Obama, at a ceremony at the Library of Congress on Capitol Hill. Many of Das's productions also received numerous awards, including Isadora Duncan Awards for his productions 'East of Center' (2003), India Jazz Suites (2005) as well as a special award for presenting the largest Indian classical dance festival outside of India, Kathak at the Crossroads (2006).
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The dance started adapting itself to the demands of the court, but it was under the artistic guidance and patronage of Nawab Wajid Ali Shah, that Kathak achieved greater dimensions. He gave a definite form, made it more artistic, and gave to it an aesthetic touch, he enriched it with rasa and bhava, and he added literature to it, lent it sensuality, and furnished it with grandeur and splendor to its presentation, argued Abdul Halim Sharar. During this period, Kathak was also extensively performed by tawaifs, who themselves developed the art in parallel to its refinement in court. They frequently performed on lighter classical music of such as dadra, kajri and tappa as well as thumri.
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Her mother was Matsya Kumari, whose family belonged to the community of performing artists, and who claimed a relationship with the royal family of Nepal. Sukhadev Maharaj, while serving in the royal court of Nepal, had developed a passion for classical dance and done an in-depth study of Bharata Natyam and the Natya Shastra; he also practised and performed Kathak dancing in which he excelled. Kathak became his source of livelihood, as also a passion; this was fostered by his marriage to a woman with background in performing arts. The passion for dance was something he passed on to his daughters, Alaknanda, Tara, and Dhanno; and to his sons, Chaube and Pande.
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Gopi Krishna married Kathak dancer Savitri in 1964. His daughter Shampa Sonthalia was born in 1980. She became a choreographer and dancer as well, placing as the winner in the 5th and 7th season of Jhalak Dikhhla Jaa where she was paired with actor Gurmeet Choudhary and Ashish Sharma respectively.
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Mayurpankh is a 1954 Indian film directed by Kishore Sahu. It was screened in the 1954 Cannes Film Festival, where it was nominated for the Grand Prize of the Festival. The choreography of the Kathak dance in it was by Shirin Vajifdar, a pioneering Parsi dancer. The film is in colour.
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Ritesh Das was born in Kolkata, West Bengal to parents Nrityacharya Prohlad Das and Smt. Nilima Das. He is the brother of renowned Kathak dancer, Late Pandit Chitresh Das. Das graduated from Don Bosco High School in 1975 and went on to study commerce at City College, Kolkata from 1976-1978.
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In September 2007, a two-day festival was organized in Lucknow to celebrate his birth centenary, in presence of his wife Rama Devi, his disciples like Nalini and Kamalini, a book on him was also released and students of the dance institution he founded, Kathak Kendra staged a ballet, Megh Malhar.
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Bhatt was born in Mumbai. She is an alumna of Trinity College, London, and took Kathak lessons from choreographer Shiamak Davar. She was also in the Liril advertisement campaign in 1999. She has also appeared in a music video album, "Aankhon Me Tera Hi Chehra" by Aryans, with Shahid Kapoor.
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Das encouraged the students of Chhandam to adopt his values of selflessness and sacrifice. He argued that these values must manifest both within the context of their study of Kathak and also permeate in other aspects of their lives by giving back to their communities and the society by and large.
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Abha Singh, Sri Anil Pathak, Chandan Singh, D.D Singh etc. are making a significant contribution towards the upliftment of music in Jamui district. Shasi Ranjan Prasad is a classical dancer. Miss Nilima Verma is also a classical dancer and is making a significant presence in the classical dance form Kathak.
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Yamunabai has shared the stage with the renowned Kathak guru, Birju Maharaj, who is reported to have appreciated her performance in 1975, staged in Delhi. The performance helped to revive her career once again and she had opportunity to perform in other parts of the country such as Kolkata, Bhopal, Raipur.
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Each year, the festival includes a workshop for students of Indian dance, called Margam. The workshop is conducted by a different dance teacher each year and has spanned several different dance schools. The workshop is usually for Bharatanatyam, but other dance forms such as Kuchipudi and Kathak have also been included.
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Sokhey was married to Leila Roy (1899-1947), a famous kathak dancer known as "Madame Menaka." Lady Sokhey spent much of her career travelling across India and Europe with her dance troupe. Her death in 1947 left Sokhey a lonely widower. The couple had no children, and Sokhey never remarried.
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Vakil is most well known for his contemporary classical tabla ensemble Tālavya. Through his compositions, Vakil has given a modern form to classical tabla playing. Tālavya currently performs Vakil's latest group tabla composition entitled Tabla Ecstasy. His latest work, Pradhanica, is a kathak dance performance accompanied by a live world percussion ensemble.
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The great Zamindar clan of the Bengal, Sabarna Roy Chowdhury resided in Nimta for some time. Internationally renowned Kathak dancer, Rama Prasad Chattopadhay resided here. Nimta High School (1875) is a heritage school in West Bengal which is still educating pupil. Nimta Has Famous Temple, called, Nimta Kalibari which is another oldest one.
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He never performed in Pakistan. He was a disciple of Acchan Maharaj, the father of Birju Maharaj in India, who was a very well known performer. In a musical conference in Banaras in 1938, he was betstowed with the title "Maharaj Kathak" by his gurus, in the presence of singers and dancers.
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Shukla received his initial training in Kathak from his father, late Sunder Lal Shukla, and later on from Birju Maharaj in New Delhi under the National Scholarship Scheme offered by the Ministry of Culture. During his training, he participated in many productions and gave several solo performances in the major cities of India.
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In memory of Lal, Dogra has arranged the "Pandit Durga Lal Samaroh" for more than 15 years as of 2005. She has also made a documentary Nirvana Through Dance on him. Mangala Bhatt through her dance school Aakruti Kathak Kendra curates and organises "Antarang" every year in memory of Pt.Durga Lal Ji.
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Dixit is credited in the media for her versatility and achieving a "balance of critical acclaim and commercial success." In addition to acting, she has been noted for her skills as a dancer. Kathak dancer Pandit Birju Maharaj, who choreographed Dixit in Devdas, calls her "the best Bollywood dancer" due to her versatility.
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Bacha Nagma is an offshoot to the Hafiza dance form. It is considered very popular and draws attention of large amount of crowd and applause. It also involves quick spinning movements like that in Kathak. The dancers do much of an expressional dancing to interpret the lyrics of the song being sung.
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She is a trained vocal singer and Kathak dancer and has delivered several live stage performances; she plays various musical instruments too. Kavita had a brief marriage that lasted for about 100 days. This was the turning point in her life and since then she has been focused on building her career.
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In Kathak performers today generally draw their lineage from four major schools of Kathak: the Jaipur gharana, the Lucknow gharana, the Banaras gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively.) and the Raigarh gharana (born in the court of Maharaja Chakradhar Singh of Raigarh.) The Lucknow gharana remains the most popular throughout the country. However, in recent times the Jaipur gharana has caught up and today most performers throughout India perform techniques belonging to both styles. With amalgamation of the techniques and poses from other dance forms, the purity of the movements and gestures may be diluted or modified along with the contemporary trends. Raigarh Gharana is famous for its own distinctive composition and thousands of followers.
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Aishwarya Raj Bhakuni was born in Bhopal, soon relocated to Raipur, Chattisgarh and completed her schooling there. Later she moved to Chennai to pursue her bachelor's in Electronics & Telecommunication from SRM Institute of Science and Technology. She decided to work as an actress and shifted to Mumbai. She is also a trained Kathak dancer.
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Harshita was born in New Delhi to a family of doctors. She completed her studies in engineering from Amity University, Noida before stepping into acting. In spite of being an engineer by degree, she was always inclined to become an actor. Harshita is also a trained Kathak dancer and has done stage shows across India.
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Ghunghroo vadan is a music style evolved by V. Anuradha Singh, a renowned Indian classical kathak exponent. She developed bells as a main musical instrument and performs in many pure music festivals where dance is not allowed. Ghunghroo vadan focuses solely on foot movement as percussive art (100 minutes, non-stop in one place).
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Samiksha Bhatnagar is from Dehradun, Uttarakhand. She learnt classical Kathak dance and classical music during her childhood. With passion for the same, she shifted to Delhi to explore opportunities in Dancing. This she considers as the learning stage of her life and also calls it the golden period owing to the experiences she had.
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Originally from a small town called Rly. Kodur in Andhra Pradesh, Akul Balaji was born on 23 February 1979. After moving to Bangalore at age 16, he trained in Bharathanatyam under Smt. Usha Datar and later joined "Natya STEM Dance Kampni", headed by Madhu Nataraj as a contemporary dancer and learned Kathak from Guru Smt.
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At 22, Pathak married the son of her mother's friend. However, they separated within a year. In 1986, she met current husband Pankaj Kapur, while filming Sagar Sarhadi's Agla Mausam, which was never released. Kapur was previously married to Kathak danseuse and actor, Neelima Azeem, with whom he has a son, the actor Shahid Kapoor.
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Lal's brother Pandit Devi Lal was also a renowned Kathak dancer. Devi Lal's wife Gitanjali Lal is also a Sangeet Natak Akademi Award winner (2007). Both brothers died at an early age. After Durga Lal's death his children and other art fraternity members have been organising an annual festival called Pandit Durga Lal Memorial Festival.
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Guru Das was said to have remained committed to preserving the traditional one-to-one transmission of knowledge between guru and shisya in today's society; he trained many disciples who have gone on to become solo artists in their own right.Dalidowicz, Monica. 2010. Becoming a Kathaka: Chitresh Das and the New Generation of Kathak dancers.
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It is stated that 350 dancers, who were brought to Akbar's court from Iran by force, probably represented the ancient traditions of dances of Iran. It is inferred that over the years, assimilation of the Persian and the Indian people took place and provided the backdrop for the present Kathak dance style in India.
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At the same time, Mogu took lessons in Kathak from Ramlal. She was also trained in Ghazal by Dattaramji Nanodkar. A conflict arose, however, between Mogu and one of the senior women in the theatre company, who then expelled Mogu from the company. Mogu's spirits drooped and it also took a toll on her health.
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A wide range of co-curricular activities are organized to supplement the academic programme, such as Art & Craft club, Music (Vocal and instrumental), Indian and Western Dance, Activity clubs, Quiz club, Taekwondo, Skating, Yoga, Public Speaking, Dramatics, Book club, Cooking without fire, Clay modeling, German Club, Theater, Gardening, Kathak Dance, Robotics club and many more.
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Bhavna Pani is an Indian actress - model and a dancer. Pani has been a dancer since age of six. She is trained in Odissi and Kathak by the legends – Kelucharan Mohapatra and Birju Maharaj. She has also learned Contemporary Modern dance at the Terrence Lewis Contemporary Dance Company and trained in Jazz and Ballet.
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Geographically, Uttar Pradesh is very diverse, with Himalayan foothills in the extreme north and the Gangetic Plain in the centre. It is also home of India's most visited sites, the Taj Mahal, and Hinduism's holiest city, Varanasi. Kumbh city, Allahabad. Kathak, one of the eight forms of Indian classical dances, originated from Uttar Pradesh.
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Her personal hobbies are cooking, listening to music, reading, and dance. Sharma is trained in the Indian classical dance form called Kathak. Apart from that she has also learned street hip hop, Latin dancing-salsa, merengue, jive, and jazz from the Pineapple Dance Studios in London. She considers Kate Moss as her style inspiration.
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Similarly, the few popular local dances are based on North Indian dances, especially Kathak. The favorite musical instrument of Maldivians, besides the drum, is the bulbul tarang, a kind of horizontal accordion. This instrument is also used to accompany devotional songs, like Maadhaha. Singers like Naifaru Dohokko became famous through songs with bulbul music in the background.
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Later, she learnt music formally at the Bhatkhande Music Institute and continued training in Mumbai with Rajashree Pathak, for five years. Apart from training in singing, Mohan studied dancing with her two sisters. She trained in Bharata Natyam and Kathak under the supervision of Ashley Lobo. Besides training kids to dance, Mohan worked as an instructor there.
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Maharaj Ghulam Hussain Kathak was the guru of Pakistani classical dancer Nahid Siddiqui, Nighat Chaodhry.Old Roads, New Highways : Fifty Years of Pakistan, Victoria Schofield, Oxford University Press, 1997, British Alternative Theatre Directory 1988, David McGillivray, Robert Conway, Conway McGillivray, 1988, ASIN B00PAC01MA Fasih Ur Rehman, a discipline of Ghulam Hussain, has been carrying on his legacy.
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Nazir was born in a Kakazai Pathan family. He had at least three wives over the years. He was first married to his cousin Sikandara Begum (who was the sister of K. Asif, the legendary director of 1960 film Mughal-e-Azam). He later had a very short marriage with Sitara Devi, the legendary Kathak dancer.
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It is one of the main qawali instrument used by Sufi musicians. Tabla also features in dance performances such as Kathak. The name tabla likely comes from tabl, the Persian and Arabic word for drum. The ultimate origin of the musical instrument is contested by scholars, though some trace its evolution from indigenous musical instruments of the Indian subcontinent.
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Farley Richmond, "India", in The Cambridge Guide to Asian Theatre, ed. James R. Brandon (Cambridge University Press, 1993), p.69. Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others.
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Dance practices are held where Renaissance Dance and English Country Dance are taught in preparation for events and demos. There are also subsets within the SCA that practice and teach Middle Eastern (Egyptian Cabaret, Folkloric and American Tribal Style bellydance) and South Asian (Bharatanatyam, Kathak, Kuchipudi) styles of dance to be performed at events and around campfires.
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The theme of Mohiniaattam is love and devotion to god. The costume worn by the dancers are typically white coloured kasavu saree with golden borders. The Kathak dance form arose from the Vaishnava devotees dancing to the episodes from Krishna's life. Originally a Northern Indian temple dance, it was transformed to a court dance in the Mughal era.
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Kathak danseuse Namrrta Raai at Modhera Dance Festival The Tourism Corporation of Gujarat organises an annual three-day dance festival known as 'Uttarardha Mahotsav' at the temple during the third week of January, following the festival of Uttarayan. The objective is to present classical dance forms in an atmosphere similar to that in which they were originally presented.
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Satya Narayana Charka is a Kathak dancer, teacher, and choreographer. He was taught by Pundit R.K. Shukla, Pundit Shambhu Maharaj, Shrimati Maya Rao and Birju Maharaj. Among his many awards is the first prize in the All-India Dance Competition. In 1981, he became the director of the East-West School of Dance in Monroe, New York.
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He has also presented Kathak Dance Performance in conjunction with the exhibition of "Islamic Art of India" on the occasion of the exhibition launching in March, 2002 at the Islamic Arts Museum Malaysia, officiated by the Prime Minister of Malaysia, Mahathir Mohamad and for the special performance graced by His Majesty Sirajuddin of Perlis, King of Malaysia.
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Indian classical dances such as Bharatanatyam, Kathak, Odissi, and Mohiniattam can be traced to the Sanskrit text Natya Shastra. They are a traditional drama-dance expression of religion, related to Vaishnavism, Shaivism, Shaktism, pan-Hindu epics and the Vedic literature. As a religious art, they are either performed inside the sanctum of a Hindu temple, or near it.
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This dance form is much appreciated and has the ability to engage large audiences. It is accompanied by instruments like rabab, sarangi, and drums. It involves quick spinning movements just like in the Hafiza dance form and some may even resemble those of kathak. The song- dance proceeding is known as Bach Nagma Jashan - Kid Dancer's Celebration.
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Retrieved on 13 November 2019 Maanvi studied the Indian dance form Kathak until she was 12. Vaishnavi Navalka, "Maanvi Gagroo: The Ujda Chaman Actor's Notable Works In The Industry", Republic TV, Mumbai, 05 November 2019. Retrieved on 13 November 2019. In 2011, she was also part of an ad campaign along with Abhishek Bachchan for Idea.
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She won the Best Actor for her role as 'Jhansi Ki Rani: Laxmibai' on stage at the age of six. She did her first studio recording as a singer at the age of 11. It was for the title track of a children's show. Along with academics she started training in Hindustani Classical Music and Kathak.
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Born in Pune, Kanetkar is a trained kathak dancer, and has a Master of Arts degree in it. She has taken lessons in Bhubaneshwar from Sujata Mahapatra for Odissi as well. In 1997, she participated in the program held for Fiftieth Independence Day Celebrations for India. She went to St Xaviers in Mumbai and completed her BA degree there.
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In Kathak, abhinaya is in the form of expressive gestures and pantomime set to music that usually outline a legend or the plot of a well known story. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: Angik (gestures and body language), Vachik (song, recitation, music and rhythm), Aharya (costume, make up, jewelry), and Satvik (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). A Kathak nritya performance, however grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend.
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Born and brought up in Mumbai, Vidhi has had a culturally and musically rich upbringing. Done her schooling from Villa Theresa High School and B.Com. from Sydenham College of Commerce & Economics, she went on to do a Creative Producer's Program from the UCLA Film School. An accomplished Santoor player, she enjoys singing and playing the piano, and is also a trained Kathak dancer.
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Bangladeshi artists performing in a dance show. The music dance styles of Bangladesh may be divided into three categories: classical, folk, modern. Bangladesh was once part of Pakistan, it was called East Pakistan. The classical style has been influenced by other prevalent classical forms of music dances of the Indian subcontinent, accordingly, show some influenced dance forms like Bharatnatyam Kathak.
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Moved by the performance, his father wanted his daughters to learn dance. Her guru Pandit Ramarao Naik, was a disciple of Ustad Faiyaz Khan, and vocalist of the Agra gharana. He ran music and dance school at Benson Town, Bangalore, where various dance and music styles were taught. Here Sohan Lal from Jaipur Gharana was in charge of the Kathak section.
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A string of ghungroos can range from 50 to greater than 200 bells knotted together. A novice child dancer may start with 50 and slowly add more as he or she grows older and advances in his or her technical ability. Ghungroos are worn in traditional performances of the classical Indian dance forms: Bharatnatyam, Kathak, Kuchipudi, Mohiniyattam, Lavani, Odissi etc.
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Rafiath has started her PhD in the University of Geneva in Switzerland from December 2019. She took Kathak, Manipuri and Bharat Natyam dance lessons in Benuka Dance Academy and got trained in Nazrul geeti in Hindol music academy. She was a student of the art school Nandan. Some of her oil paintings were displayed in Drik Gallery in a group exhibition.
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Since 1998 she has been a member of the Music Ensemble of Benares, where she has played an important part not only as a singer and kathak dancer but also as a composer and choreographer. •Moreno, Ursula, Rosalia (born 1973, Malaga, Spain). Originating from a family of Spanish artists, her uncle, Antonio Molina, was one of the best Flamenco singers in Andalucia.
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Nirupama and Wisam later go to meet Wizam's mother, who is an Alzheimer's patient living in a care home. Wisam's mother could not recognize her own son but is always lamenting looking at the childhood photos of her son. Wisam feels very sad and happy simultaneously and gets emotional with his mother. He recalls his days with her during their Kathak sessions.
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Theatre, Drama and Music had a significant role in the social lives and the Bengali community played a significant part in this. This part of Sindri life was heavily influenced by Calcutta (now Kolkata, just 250 km away). Ajanta Kala Mandir was a significant part of the children growing up in Sindri. Children learnt Kathak dance and Hindustani Classical music.
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Principal photography of the film began on 1 December 2018, with shooting expected to wrap by mid-2019. A massive fort for the film was built at Film City, Goregaon, requiring two months of preparation and the effort of nearly 300 workers. Vaani Kapoor pushes her limits as an artiste as she takes professional training in Kathak for the movie.
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In 1980, she arranged for the Kalamandalam's Kutiyattam troupe to travel to Europe with funding from UNESCO. In 1999, another Kutiyattam tour she organised resulted in UNESCO encouraging an application to its newly established Intangible Cultural Heritage of Humanity programme. Kutiyattam was added to the list in May 2001. Salvini's daughter Isabelle Anna is also an Indian classical dancer, specialising in Kathak.
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Puru Dadheech was born to a traditional pauranik brahmin family of Ujjain (MP). He is married to famous senior kathak guru and researcher Dr Vibha Dadheech. He has 2 sons. His younger son Pratyush Dadhich, famously known as Tush Dadheech is an artist manager and organiser of Traditional Indian artists and art forms and is credited to launch many newcomers.
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Bhagwat has said that change and experimentation help a person grow as an artist. Her kathak dance style shows a "mastery of the idiom" according to The Hindu. Aditi was awarded the prestigious United States Department of State Fellowship under Cultural Exchange Program 'One Beat' in 2012. She has featuring a column in Mi Marathi Live E-paper on various facets of dance.
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Each year, the festival offers several outdoor dance performances in Lower Manhattan, in various styles of modern and classical Indian dance, such as Bharatanatyam, Kathak, Mohiniattam, and Manipuri. Dance workshops are offered throughout the program. The festival is also run in conjunction with The Battery Dance Company’s Annual Downtown Dance Festival. Each year, IAAC holds submissions for dancers to participate in the festival.
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Rachel Brice Tribal Fusion Belly Dance is a modern Western form of belly dance which was created by fusing American Tribal Style belly dance and American Cabaret belly dance. Artists frequently incorporate elements from Popping, Hip Hop, 'Egyptian' or 'Cabaret' belly dance, as well as movement principles from traditional forms such as Flamenco, Kathak, Odissi, and other folkloric and classical dance styles.
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Rani Karnaa was an Indian classical dancer, known for her proficiency in the Indian dance form of Kathak, and regarded by many as one of the greatest exponents of the art form. She was honoured by the Government of India, in 2014, by bestowing on her the Padma Shri, the fourth highest civilian award, for her services to the field of dance.
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Purna Nepali was born to his father Dhaman Singh Kayastha and mother Rebati Kayestha in Batuletar, Pokhara, Kaski on December 31, 1954 (16 Poush, 2011 B.S.). He completed his primary education in his hometown Kaski. Later he did B.A. from Music University of Madhya Pradesh, Madhya Pradesh India.(1983–1985). After that he completed diploma on Kathak Dance from the same institution.
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She is a trained Kathak dancer. Her big break came with the Punjabi film with Yo Yo Honey Singh and Amrinder Gill, Tu Mera 22 Mai Tera 22. She went on to star in two other Punjabi films Ishq Brandy and Ishq Haazir Hai as a co-star to actor Diljit Dosanjh. She gave her first female lead role as Tanisha in Sixteen.
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Meenakshi Seshadri was born as Shashikala Seshadri in a Tamil Brahmin family in Sindri, Jharkhand. She trained in four Indian classical dance forms, Bharata Natyam, Kuchipudi, Kathak, and Odissi, under Vempati Chinna Satyam and Jaya Rama Rao. She won the Eve's Weekly Miss India contest in 1981 at the age of 17 and represented India at the Miss International 1981 in Tokyo, Japan.
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In Kathak dance three types of Tandavas are generally used, they are, Krishna Tandava, Shiva Tandava and Ravana Tandava, but sometimes a fourth variety - Kalika Tandava, is also often used. The Manipuri dance is categorized as either "Tandava" (vigorous, usually go with Shiva, Shakti or Krishna as warrior-savior themed plays) or lasya (delicate, usually go with love stories of Radha and Krishna).
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In the UK, two different 12-inch records were released. The first included the "Snapper Mix" of "Kiss Them for Me" with the non-album B-sides "Staring Back" and "Return". The second version contained three different versions of "Kiss Them for Me" by Youth: the "Kathak Mix" on the A-side and the "Loveappella Mix" and "Ambient Mix" on the B-side.
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She met Nahid Siddiqui at age of fourteen, regarded as one of the greatest Kathak dancers and trained under her guidance. Inspired to learn the classical forms of her own culture, she abandoned ballet and join to understand and absorb the nuances of the style. This required her to be closer to its origins and she moved back to Pakistan.
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Sitara Devi (8 November 1920 – 25 November 2014) was an eminent Indian dancer of the classical Kathak style of dancing, a singer, and an actress. She was the recipient of several awards and accolades, and performed at several prestigious venues in India and abroad, including at the Royal Albert Hall, London (1967) and at the Carnegie Hall, New York (1976).
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His sister Rama was a Kathak dancer at the Mysore Palace, and brother Ravi was a child actor who appeared in the 1955 Tamil language and Kannada bilingual film Modala Thedi. Vishnuvardhan was educated first in Mysore's Gopalswamy School and then at Bangalore's Kannada Model High School. He attended high school and obtained a degree from National College, Basavanagudi, Bangalore.
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In 2014 the Toronto Tabla Ensemble launched an innovative festival called the Indian Diaspora Festival. The sold out festival launch featured performances of Indian dance and music performed by local and international artists. The tabla player was a student of Ritesh Das trained in Toronto while the kathak dancer was a student of Das' late brother Pandit Chitresh Das from California.
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Saira Banu was 16 years old in 1960, the year she made her debut to Hindi films. She said in a programme that she had basic talent and little dancing experience. Her peers all were classically trained, which was why she wasn't put in the top league. Banu started taking Kathak and Bharata Natyam lessons with success, and trained herself professionally.
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In 1973 she became the youngest dancer be conferred upon with the Padma Shri by Government of India, and Padma Bhushan 2001. She was awarded the Sangeet Natak Akademi Award and also the Sahitya Kala Parishad Award. On 27 January 2013, she was honoured with title Srijan Manishi by Akhil Bhartiya Vikram Parishad, Kashi for her great contribution to Indian Kathak Dance.
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Das began working with the New Light Foundation, a Kolkata-based NGO that works to free the children of red- light district workers from the cycle of prostitution and abuse through support services, education and care, in 2003. Das and the teachers of Nritya Bharati taught the children of the New Light Foundation Kathak dance as a means for cultural and self-awareness and empowerment. The New Light group was invited by the German Ministry of Culture and International Cooperation to be a part of Kinder Kulture Karavane; in 2008, the New Light children travelled to Germany for a 6-week performing tour. Das also worked with the Calcutta Blind Opera (or Shyambazar Blind Opera), teaching Kathak to visually challenged performers through emphasis on its rhythmic and musical components. Das's teachings emphasized the concepts of ‘tyaag aur seva’ (sacrifice and selfless service).
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There were be a bunch of other musical and theatrical performances too. The festival sought to bring a local flavour to the queer movement and was inspired by Mumbai's Queer Film Fest Kashish organised by Sridhar Rangayan. Tarang's aim was to showcase queer arts through several mediums and it staged queer-themed plays such as Pehchaan, Dastak, Mard, Lihaaf, Ehsaas, The Legend of Ila, Anhad e Kathak.
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Famous Marathi film actors and singers like Mukta Barve, Savani Ravindra, Sonalee Kulkarni and Astad Kale hail from Chinchwad. Barve has spent her entire childhood in Chinchwadgaon and is an alumna of MSS High School. The city is also culturally rich and home to a plethora of musicians, dancers and sangeet gurus including Agra gharana exponent Dr. Sandhya Kathavate and Kathak dancer Payal Gokhale.
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Dance of North India too has diverse folk and classical forms. Among the well-known folk dances are the bhangra of the Punjab, Ghoomar of Rajasthan, Nati of Himachal Pradesh and rouf and bhand pather of Kashmir. Main dance forms, many with narrative forms and mythological elements, have been accorded classical dance status by India's National Academy of Music, Dance, and Drama such as Kathak.
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Initially she learnt Bharatnatyam and Kathak, but finally she chose Odissi as her medium of expression. Her Odissi art skills were refined to finest under the tutelage of legendary Guru Kelucharan Mohapatra. In a response to Interview on Why she chose Odissi although she was trained initially in various other forms, she said, She holds a Diploma in Architecture and often writes for various magazines and books.
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Nirupama and Rajendra own Abhinava dance company, where they teach Bharathanatyam and Kathak and work to spread traditional classical dance forms. They have choreographed and produced dance works and have travelled performing in several cities in USA, Canada and Europe. They have worked in dance for over 20 years. They hold the rating of "A TOP," the highest artists rating on Indian national television.
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In 1953, Bimal Roy invited Kumari to perform a Kathak number in his film, Parineeta. The next year, she performed in Waris of Nitin Bose and a Hindi / Urdu bilingual, Mirza Ghalib, directed by Sohrab Modi. Her next appearance was in Basant Bahar, a 1956 film by Raja Nawathe. Satyajit Ray, the renowned Indian filmmaker used a dance sequence performed by her in his 1958 film, Jalsaghar.
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In the year 2012 noted journalist and media person Sri Sharad Dutt was recipient of Srijan Manishi title. On 106th Birth Day of Acharya Ji a renowned Kathak Dancer Padma Bhushan Kum Uma Sharma was confirmed with Srijan Manishi as 6th recipient. A renowned Hindi & Maithil poet Dr Buddhi Nath Mishra is 7th recipient of Srijan Manishi on 27 Jan.'2014. On 27th Jan.
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Due to her father's posting at various locations in the region, she grew up in Assam, Cooch Behar, and bordering areas of West Bengal. She passed higher secondary examination from Suniti Academy, Cooch Behar. In her early years, she learnt Kathak, a classical dance, from Srilekha Mukherjee. She received training as a visual artist at Kala Bhavan, an art school at Visva-Bharati University, Santiniketan.
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Sirimathi Mary Fernando (born 10 May 1932 - died 3 September 1992 as සිරිමතී රසාදරී) [Sinhala]), popularly as Sirimathi Rasadari, was an actress in Sri Lankan cinema, as well as a renowned Kathak dancer. Considered as the first in Sri Lanka to mastered the art of dancing, acting, singing and writing at the same time, she is the pioneer to establish United Ceylon Fan Club in 1957.
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She acquired formal training in dance and music and was a sports topper in her school. Among her favourite hobbies were listening to music and stamp collecting. Dutta became graduate in Arts from the Sivanath Sastri College, an affiliated college of the prestigious University of Calcutta. Under the able guidance of her Guru Sumitra Mitra, She was conferred Pravakar in Kathak dance by Allahabad University.
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He completed his education from Rajkumar College, Raipur. He succeeded to throne of Raigrah upon death of his elder brother, Raja Natwar Singh in 1924. The government management however continued till 1927 when Raja was invested with powers.Raigarh darbar by P. D. Ashirwadam Agam Kala Prakashan, 1990 On the contribution of Chakradhar Singh, Raja of Raigarh, 1905–1947, to Kathak dance and Hindustani music.
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Reena Bhardwaj was born and raised in London. From a very young age she displayed an intrinsic flair for the Indian arts, especially music and dance. She trained in the North Indian Classical Dance form Kathak and started performing on stage from the age of 9. During her teens, focus shifted to singing and she began to impress audiences as she sang complex compositions effortlessly.
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On the day of her dance, Sachin, her father, brings anklets, expecting she will do a Kathak dance. When Radhika sees Sachin while dancing, she freezes on stage and therefore gets eliminated. Tara, Bedane, and Aiji stay as Tara auditions for the wild card entry. Tara wins the wild card entry while Radhika has a feud with her family and leaves for Mumbai for a heroine entry.
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Her performance received widespread appreciation. Rucha has also performed in 50-60 television commercials with superstars including Amitabh Bachchan, Aamir Khan, Shah Rukh Khan, John Abraham and has been directed by renowned directors including Anurag Kashyap, Shoojit Sircar, Pradeep Sarkar, Gauri Shinde, Vinil Mathew,Ram Madhvani, Prasoon Pandey, Anupam Mishra, Prakash Varma and many more. Rucha is a trained Kathak and Latin ballroom dancer.
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In Madras (now Chennai), Jayalalithaa was trained in Carnatic music, western classical piano and various forms of classical dance, including Bharatanatyam, Kuchipudi, Mohiniyattam, Manipuri, Kathak. She learnt Bharatnatyam and dance forms under K.J.Sarasa. She had also learnt Kuchipudi under Padma Bhushan Guru Dr. Vempati Chinna Satyam. She became an accomplished dancer and gave her debut dance performance at the Rasika Ranjani Sabha in Mylapore in May 1960.
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Mah Laqa excelled in singing love lyrics accompanied by Deccani style of Kathak dance. She established a cultural centre in which 300 girls were trained by her along with other masters. Maha Laqa's library contain manuscripts and books on poetry along with the arts and the science collections. She sponsored and supervised the publication of Mahnama, a historical book about the revival period of Hyderabad State.
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Saswati Sen is a leading Indian exponent of Kathak, an Indian classical dance form. She is a senior disciple of Pandit Birju Maharaj. She achieved early fame by dancing in Satyajit Ray's film, Shatranj Ke Khilari (1977), his invocation of Lucknow society at its "Paris of India" zenith. Born to a family of legal and medical professionals, Saswati took to dance at an early age.
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Mehta's mentor had taught Kathak dance to the children of sex workers in Calcutta to help them break free of the cycle of exploitation. Mehta was given the Nari Shakti Puraskar award on International Women's Day in 2019. 1000 women were nominated for the award and 44 were chosen to receive it. She was chosen because of her work with under- privileged children in Mumbai.
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This song comes in the climax of the film. By the time it was recorded, Meena Kumari's condition had worsened to such an extent that while performing, she collapsed. Keeping in mind her medical condition, a body double was brought. Actress Padma Khanna played her body double in this song as she was an adept Kathak dancer which was an urgent requirement of the song.
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Priyanka Kothari was born in West Bengal. She moved to New Delhi while in grade 10 and got her bachelor's degree in Physical Science from Delhi University at Dyal Singh College, Delhi. She chose chemistry as her father is a chemical businessman, while her mother is a home- maker. She has learnt Kathak for 6 years and attended acting classes with Kishore Namit Kapoor.
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Radhika Narayan was born in the Krishna Temple city Udupi, Karnataka. She is an engineering graduate from Vidya Vikas Institute of Engineering & Technology, in the Heritage city Mysore. Besides being a film actress, she is a trained Kathak dancer, who is actively involved with WeMove Theatre movement and also acted in short films. She has also worked as a model from earlier in her career.
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Uma Sharma (born 1942) is a kathak dancer, choreographer and teacher. She is also runs the Bharatiya Sangeet Sadan, Delhi, a classical dance and music academy, situated in New Delhi, founded by her father in 1946. She is most known for reviving the old classical dance form of Natwari Nritya or the Raslila of Brindavan, which later evolved into the Kathak.Uma Sharma ProfileRichmond, p. 198.
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Anuang'a and the group Maasai Vocals produced their show Voices & Feeling at Ravenna Festival and Festival Oriente Occidente in Italy. In July 2008, he choreographed a dance Fusion spectacle titled Fusion Indo-Maasai, with Jaya Pachauri. It was a fusion of Indian Kathak dance and Maasai dance. The Meeting of different cultures, to share and bring together the traditional art in a modern stage.
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Apte found this experience liberating as it boosted her self confidence. While growing up in Pune, Apte trained under Kathak exponent Rohini Bhate for eight years. During this time, Apte became involved in theater in Pune and decided to go to Mumbai to join films. However, a few months later, Apte got discouraged by her experience in Mumbai and returned to her family in Pune.
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Coming to India in the year 1990 she began studying Brhamari painting from Buddhadev Chaitanya in Uttarpara (a small town near Kolkata). Coming from a renowned artistic family, Buddhadev was a painter, dancer and musician. He developed upon his father's technique of Bhramari painting, a technique based on improvisational methods with Tantric influences. Following her painting lessons, Osnat began studying Bhramari Kathak dance from Buddhadev.
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Mangala & Raghav Raj Bhatt receiving the State Award from K Chandrasekhar Rao Raghav was selected on a national scholarship to learn from Padma Vibhushan Pt Birju Maharaj Ji. Encouraged by his father, he moved to Delhi to train at Kathak Kendra under the aegis of Maharaj Ji. After completing his Visharad in Kathak, Raghav excelled as a dancer, performing in almost all of his major dance drama and classical productions in India and abroad. Taking inspiration from his father, Raghav also is closely involved with folk & tribal arts projects. His efforts have been recognised by numerous institutions and government bodies such as Sangeet Natak Akademi, Centre for Cultural Resources and Training, Indian Council for Cultural Relations, Ministry of Culture, Department of Language & Culture, Govt of Telangana, etc. Mangala Bhatt & Raghav Raj Bhatt have received numerous honours for their contribution to classical dance, art and culture.
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Gradually he made it into a spectacular pageant or Mela known as Jogia Jashan, in which all citizens of Lucknow could participate, dressed as Yogis, irrespective of caste and creed. Later, when his favourite venue, the Qaisarbagh Baradari was built, he began to stage his magnificent Rahas (obviously a Persianised name for Rasleela) full of sensuous poetry, his own lyrical compositions and glamorous Kathak dances. Ranbir Singh gives details of Wajid Ali Shah's book entitled Bani in which the author mentions 36 types of Rahas all set in Kathak style (with colourful names like Mor-Chchatr, Ghunghat, Salami, Mor Pankhi and Mujra), and gives exhaustive notes about the costumes, jewellery, and stage- craft. Rahas, prepared at a fabulous cost of several lakhs (hundred thousands) of rupees, became very popular, and was performed at the Kaisarbagh-Rahas Manzil, (most probably the first Hindustani Theatre Hall).
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Indian Cultural Centre in Georgetown was established in 1972 with the objective of strengthening cultural relations and mutual understanding between India and Guyana and their peoples. The Centre runs regular classes in Yoga and Dance (Kathak). The Centre has a well equipped Auditorium where cultural events are organised on a regular basis. The teachers and students of ICC participate in events by the local community on various occasions round the year.
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Dharwadker, p. 447 He adapted Rabindranath Tagore, Ghare Baire (Home and Outside) in 1961, and dramatised Mahashweta Devi's classic novel Hazar Churashir Ma (Mother of 1084) as Hazar Chaurasi Ki Ma in 1978. He later worked as the vice-chairman of the Sangeet Natak Akademi from 1999 to 2004., and as the chairman of the Kathak Kendra, New Delhi and Science City and the Birla Industrial & Technological Museum (BITM), Kolkata.
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She moved to Jaipur in 1951,in search of Kathak. She also started teaching English at the Maharani Gayatri Devi Girls' Public School for next two years. She then moved to Sri Lanka and studied Kandyan dance with legendary dancer, Chitrasena. Subsequently, in 1955, she received the prestigious Government of India scholarship and trained under noted Guru, Shambhu Maharaj of the Lucknow Gharana at the Bharatiya Kala Kendra, New Delhi.
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Pandey has learnt Kathak (Indian classic dance) and is a professional singer as well. She has learned classical music and light music and is a national scholar from ministry of culture New Delhi in classical music. Pandey first appeared in India's Got Talent Season 1 on Colors TV in 2008 and finished up as a semi-finalist. She then did a Bhojpuri movie Bidesia opposite Dinesh Lal Yadav.
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She grew up in California and practiced ballet and kathak as a child. Her family managed a Bollywood music band. She played a guest role in several television shows including The Mindy Project, NCIS: Los Angeles and 9-1-1 before portraying one of the lead roles in Never Have I Ever, which was also co-directed by Kaling. Richa plays the main character's cousin, Kamala, in the series.
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Bangalore opened up a lot of dance avenues for Abhija. She is trained in Kathak by Guru Murali Mohan Kalvakalva of Nadam and Odissi by Guru Sharmila Mukherjee of Sanjali Centre for Odissi Dance. She is also trained in folk and contemporary dance forms. She has also attended dance workshops by Pandit Birju Maharaj, Saswati Sen; Surupa Sen, Bijayini Satpathy, Pavithra Reddy of Nrityagram; Bhriga Bessel to name a few.
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Mouni Roy (born 28 September 1985) is an Indian actress, singer, Kathak dancer and former model, primarily known for her work in Indian television and Hindi- language films. Her popular works include Mahadev, Naagin and Gold. In 2014, Roy was a finalist on the reality show Jhalak Dikhhla Jaa. She rose to fame with her portrayal of Sati and Shivanya/Shivangi in Devon Ke Dev...Mahadev and Naagin respectively.
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He had two sons, Krishnamohan and Rammohan and a daughter, Rameshwari. Amongst his pupils, the most noted exponents of Kathak are his nephew Birju Maharaj, Kumudini Lakhia, Damayanti Joshi, Maya Rao, Bharati Gupta, Uma Sharma, Vibha Dadheech and Rina Singha.Singha, R. and Massey R. (1967) Indian Dances, Their History and Growth, Faber and Faber, London, p.232 His son Rammohan was also his disciple and continues to perform his style.
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Keswani started acting in class two with an adaption of Goldilocks and the Three Bears. She attended MMK College in Mumbai and graduated with a degree in commerce. While she was at school, she started Kathak and kept up with it for about 6 years at Sangit Mahabharati institute and later with Guruji Shri Surinder Kaur, whom she idolizes. Later she trained in Jazz dance from Shiamak Davar's.
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The students of Indian Instrumental and Vocal Music are trained for various levels of Bhatkhande and Surnandan Bharati Examinations. The Dance School trains the students for external examinations in Sattriya, Odissi, Kathak and Bharatnatyam. Adventure & Outdoor Education is an integral part of our curriculum. Expeditions, Excursions & Educational Trips are organised annually and pupils have toured the United Kingdom, USA, Australia, Canada, South Africa, Egypt, Singapore, Malaysia, Thailand, Sri Lanka and Bhutan.
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Laxmi Narayan Singh (16 October 1944 - 28 July 2016) known professional ally as Lachhu Maharaj was an Indian Tabla Player of Banaras Gharana. Maharaj was born on 16 October 1144 to Vasudev Narayan Singh. His sister's name is Nirmala, mother of Bollywood actor Govind Arun Ahuja. He was married to an Indian woman, she was a Famous Kathak dancer Annapurna Mishra Singh and they had one Daughter Rachna.
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Talpade began her career at age 5 in 1958 with Goonj Uthi Shehnai. She gained popularity when she started performing item dances in films, being an exponent of Kathak. However she had already gained a foothold in the industry, as a child artiste in Sangeet Samrat Tansen, Zameen Ke Taare (1960) and Pyar Ki Pyaas (1961). According to her, it was Gopi Kishan who spotted her dancing in a film.
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Bangalore Gayana Samaja () is one of the oldest cultural organisations in Bangalore and was established in 1905. It is the oldest operational sabhā (or arts society) in India. The organisation focuses on various Indian forms of Indian music such as Carnatic music, Hindustani music, devotional, light music, Harikathe, folk music and theatre along with various Indian dance forms such as Bharatanatya, Kuchipudi, Kathak, Kathakali, Chau, Odissi and Manipuri.
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It also spent several months on heavy rotation on MTV. In the UK, "Kiss Them for Me" peaked at No. 32 in the UK Singles Chart, the band's 16th top 40 single. The "Snapper Mix" includes a spoken sample of Jayne Mansfield from the movie Will Success Spoil Rock Hunter?, while the "Kathak Mix", remixed by producer Youth, features spoken samples of Robert Anton Wilson in the introduction.
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Ester went on to get trained in Kathak and Bollywood dancing under Saroj Khan for around two years, during which she got introduced to the world of movie making and related people. Ester then joined Anupam Kher's 'Actor Prepares – The School for Actors', the school of acting where she completed her Diploma course in acting. Ester holds a post graduation degree i.e M.A in Political Science under the University of Mumbai.
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As a child, Pilgaonkar trained to become a professional swimmer and won several medals while in school. Believing that she might become a translator or a linguist when she grew up, Pilgaonkar also took classes in Japanese when she was a child. Later deciding to take a different route, Pilgaonkar completed her Bachelor's degree in Sociology at St. Xavier's College in Mumbai. Pilgaonkar learned the Kathak dance as a child.
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Astad Deboo was born in Navsari, though he grew up in Kolkata till the age of six years. Thereafter the family which are Parsi shifted to Jamshedpur, where his father was employed with Tata Steel. His mother was a homemaker, and he has two sisters, Kamal and Gulshan. At the age of six, he started learning the Kathak dance form, from the late Indra Kumar Mohanty and the late Prahlad Das.
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Later, Kumkum was seen in a small role in Pyaasa (1957). The famous song "Yeh Hai Bombay Meri Jaan" from C.I.D (1956), sung by Geeta Dutt was picturised on her. She was also paired alongside Shammi Kapoor in a side role in Mem Saheb (1956) and also in lead opposite Shammi Kapoor in Char Dil Char Raahein (1959). She was trained in Kathak by the noted Pandit, Shambhu Maharaj.
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Her husband Aditya Oke and father-in-law Vidyadhar Oke play the harmonium, while her mother-in-law Bhagyashree Oke is a kathak dancer. Her mother Asha Khadilkar performs Indian (Hindustani) classical, semi-classical and devotional music including Natya Sangeet. Her father is a graduate of NSD (National School Of Drama) New Delhi and has directed a drama called "Anadi Me Anant Me" which is based on the life of Vinayak Damodar Savarkar.
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He was also part of Bandini. In 2011, he was cast as the lead in Nikhil Sinha's Devon Ke Dev – Mahadev. The series focused on the god Shiva and portrays his journey from a hermit to a householder through his marriage to Sati and later to Parvati. Mohit worked on improving his physique for the role, and started learning the Indian classical dance form Kathak, which is integral part of his role as Shiva.
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Gopi Krishna later established the Nateshwar Bhavan dance academy and the Nateshwar Nritya Kala Mandir. In 1975 the Indian government awarded him India's fourth highest civilian award, the Padma Shri. He set a world record for the longest continuous Kathak dance at 9 hours and 20 minutes. He also acted and done a role of master and guruji in 1985 Bollywood Hindi Film Rishi Kapoor and Rajesh Khanna Starrer Zamana (1985 film).
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Sayee and Subbulakshmi as they appear in Naya Sansar (1959), Hindi film Sayee and Subbulakshmi, popularly known as Sayee–Subbulakshmi, were two Indian female Bharatanatyam dancers who performed on stage in South Indian and Hindi films. They were a twin dance duo and were popular during the 1950s and 60s. They were noted for their synchronised dancing. They also performed Kathak and folk style dances in some regional language films and Hindi films.
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Encouraged by Shambhu Maharaj, renowned Kathak guru, she performed at many places in India along with Siddheshwari Devi, a known classical singer. It was during one of these performances, Begum Akhtar, renowned Hindustani singer, met Ganguly and took her as her disciple. The bond between the singers lasted till Akhtar's death in 1974. Ganguly is a Ford Foundation Fellow and has a doctoral degree for her thesis on the female singers of Indian subcontinent.
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She has been honoured with the Sangeet Natak Akademi Award (1968) and the Padma Shri (1970). She was also the guru to Bireshwar Gautam. She has been featured in the documentary on Kathak in 1971 by Films Division, Government of India, and another film entitled "Damayanti Joshi" directed by Hukumat Sarin was made in 1973. She died on 19 September 2004 at her home in Dadar, Mumbai, a year after she had suffered a stroke.
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Mohyeddin returned to Pakistan in the late 1960s. Between 1969 and 1973 he hosted the hugely popular television talk show, "The Zia Mohyeddin Show", best remembered for Mohyeddin's rap-style song segment, which he would introduce with his trademark phrase of "zara theka lagaiye". He was appointed Director of the PIA Arts Academy in 1973, a role he held until 1977. Around this time, he met and subsequently married the renowned Kathak dancer Nahid Siddiqui.
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Gauri Jog was born in 1970 at Nagpur and received intense, disciplined and meticulous training from her Guru Madan Pande of Lucknow Gharana who emphasized rhythmic footwork and its permutations. She also studied Kathak dance from Lalita Hardas of Jaipur Gharana, known for the art of abhinaya. She also studied from Madhurita Sarang of Mumbai. She started dance training at 5 and gave her first performance when she was 7 years old.
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Kalyani Bondre (Marathi: कल्याणी बोन्द्रे) was born in Pune, India, into a musical family. She received initial guidance in music from her parents, both musicians in their own right. As a child, Kalyani was more interested in classical dance and hence took lessons in Kathak dance from Guru Maneesha Sathe, disciple of the famous Pandit Gopi Krishna. Kalyani trained in vocal classical music earlier under Ranjana Bhide, disciple of Pandit Gangadharbuwa Pimpalkhare.
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She also briefly pursued a Fashion degree at Birmingham City University, United Kingdom. Aishwarya has also trained in different forms of dances like Kathak, Jazz, Contemporary, Freestyle and Bollywood. She has trained for five to six years in Jazz and completed three to four exams. She has performed a lot during her school life; even placing first in a 50-school dance concert called ‘Lapaak’ where she was also awarded Star of the Show.
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Her introduction number in the film had a combination of two polar opposite styles - Bharatnatyam and Popping and was choreographed by the Chicago twin sisters. She went through a strenuous four-day training session in order to adapt the postures, form, and movements of Bharatnatyam that were completely different from Kathak. Aishwarya has also appeared in a television commercial for Bingo Yummitos the success of which prompted a second commercial with the same team.
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Raudram rasa of the destructive fury of goddess Durga in Bharatanatyam The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing Rasa in classical Indian dance form is referred to as Rasa- abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa. The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions.
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Kalashram, under the guidance of the legendary maestro Padma Vibhushan Pt Birju Maharaj and his foremost disciple, Saswati Sen, has been working extensively towards promoting and preserving traditional Indian Arts & Culture. Its activities include classroom teaching, workshops, master classes, lecture-demonstrations, seminars, performances and festivals. Kalashram organises four important festivals annually; Vasantotsava, Sadhana, Dikshantotsava and Holi Utsav. It focuses on imparting training mainly in the field of Kathak, along with various other associated disciplines i.e.
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In 1964 she started the Natya Institute of Kathak and Choreography (NIKC), Bangalore, under the aegis of Bharatiya Natya Sangh, affiliated to the UNESCO. Its present director is famous danseuse Maya Rao. Chattopadhyay was a woman ahead of her times, she was instrumental in setting up the All India Handicrafts Board, she was also its first chairperson. The Crafts Council of India was also the first president of the World Crafts Council, Asia Pacific Region.
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The festival also started featuring a small number of Hindustani concerts, since 2012. There are also a number of dance performances at the festival. These are mostly Bharathanatyam, but Kuchipudi, Kathak, Kathakali, Mohiniyattam, Odissi, Yakshagana, and Andhra Natyam have also been featured. Many of the dance performances are specially commissioned works, with original music and choreography (Ramayana in 5 parts, 2011; Mahabharatha in 5 parts, 2014; Srimad Bhagavatham in 5 parts, 2017).
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There are regular visits of cultural troupes from both sides. The Lal Bahadur Shastri Centre for Indian Culture teaches Hindi, yoga, Kathak and table and holds cultural performances across Uzbekistan. Hindi is taught in several schools and universities in Tashkent. Mr. Khayriddin Sultanov, State Advisor to President and Mr. Ruslanbek Davletov, Justice Minister represented Uzbekistan at the concluding event, on 02 October 2018, of the week-long Mahatma Gandhi International Sanitation Convention.
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After auditioning for the role, Jaiswal watched Krish's Vedam and Krishnam Vande Jagadgurum to understand his work and was "really touched" by the former. Krish advised her not to watch any old Telugu films but try to analyse old English and Hindi films instead. Jaiswal opined that her character needed to focus "more on expressions than acting". She joined kathak classes after the film's shoot began, and no workshops were conducted for her.
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She completed her Bachelor of Laws with an LLB degree from pravin Gandhi College of Law Mumbai. Banerjee learned Hindustani classical music and ghazal from her mother and used to sing children's songs. She also learned the classical dancing form Kathak but had to discontinue due to her father's transferable job. While recording a song one day, she was spotted by noted director G. V. Iyer who signed her on for the Hindi television serial Kadambari.
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She was previously trained in kathak, and two teachers assisted her with the dance as a part of her preparation for the character. Murli Sharma plays the role of Tripathi's conservative father; he said he found the role difficult to portray as most of his previous roles were more aggressive in nature. Vennela Kishore was selected to play a supporting role. Naresh and Sithara play Nani's parents, and Ajay, Praveen, and Srinivasa Reddy play supporting roles in the film.
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After completing his master's degree from National School of Drama he received a scholarship from Charles Wallace Trust, New Delhi and joined Central School of Speech and Drama, London. He started his acting career as a theatre artist for NSD Repertory Company and played lead role in 35 plays before joining films. Subrat Dutta has learnt dance from PranatI Sengupta and continued to take part in Tagore Dance Drama. He tried to learn Kathak but left after few months.
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Padukone took Kathak dance lessons from Pandit Birju Maharaj, who also choreographed the song. The movie was dubbed in Tamil and Telugu and hence the song was also released as "Podhai Nirathai Thaa" in Tamil and "Meera Chittachora" in Telugu on 15 December 2015. Shreya Ghoshal and Pandit Birju Maharaj rendered their voice to all the three versions of the song. The song was reprised in MTV Unplugged Season 6 and was also rendered by Ghoshal.
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In the words of noted critic Ramesh Chand Charlie the Stage Play 'Dara Shikoh' is a turning point of traditional theatrical sensibilities. Use of Wali Deccani's period poetry provides this play a very rare artistic and historical context. Dazzling use of Kathak choreography by Rani Khanum and her troupe, and authentic costumes including head gear, swords and period art work were a treat for the eyes. Exemplary use of Sufi music, context and ambiance was very alluring and mesmerising.
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The OACC also has an Artist in Residence Program, which supports emerging and established Bay Area artists in creating new works that premiere in the center. The artist in residence from 2012-2015 was Seibi Lee, a Kathak dancer. Past artists-in-residence include Gamelan Sekar Jaya, Philip Huang, Nitya Venkateswaran, Asian Pacific Islander Youth Promoting Advocacy and Leadership (AYPAL), Karmacy, Word & Violin, the Shaolin Buddhist Temple & Education Foundation, Vidya, Kyoungil Ong, Rina Mehta, Jay Loyola, and Judith Kajiwara.
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Kathak as a performance art has survived and thrived as an oral tradition, innovated and taught and from one generation to another verbally and through practice. It transitioned, adapted and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by Akbar, and was ridiculed and declined in the colonial British era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.
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It combines elements of the native classical Kathak dance with native music including thumris and ghazals. It also includes poems from other Mughal periods like the emperors from Akbar to Bahadur Shah Zafar's ruling periods. Mujra was traditionally performed at mehfils and in special houses called kothas. During Mughal rule in the subcontinent, in places such as Delhi, Lucknow, Jaipur, the tradition of performing mujra was a family art and often passed down from mother to daughter.
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Laila was born in Sylhet to Syed Mohammed Imdad Ali, a civil servant posted in Karachi, and Amina Laila. She started taking dance lessons of Kathak and Bharatanatyam genre. In those days, Ahmed Rushdi was the leading film singer who introduced rock n roll, disco and other modern genres to South Asian music. Following Rushdi's success, Christian bands specialising in jazz started performing at various night clubs and hotel lobbies in Karachi, Hyderabad, Mumbai, Dhaka and Lahore.
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In 1855, the enactment of the play Inder Sabha written by Agha Hasan Amanat in the court of the last Nawab of Oudh, Wajid Ali Shah, marked the beginning of Urdu theatre. The drama dealt with the love story between a fairy and a prince. The Nawab, who was a Kathak dancer and had written theses on stage techniques, composed some of the songs and choreographed the dances for the play. It was a huge success.
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In 1952, Kamat shifted his base to Pune and became among the most trusted tabla accompanists for Kathak dancer Rohini Bhate for over 15 years. In 1964, Kamat became a gandabandh disciple of Samta Prasad of the Benares gharana. From 1956 to 1991, Kamat also provided tabla accompaniment in Sangeet Nataks (Marathi musical plays) that featured artists like Hirabai Badodekar and Jyotsna Bhole. During this time, Kamat also worked as a staff artist for AIR, Pune.
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Aditi's musical journey began very early in life, highly inspired by her mother, Ragini Bhagwat, a classical singer. Her initial kathak training in the Jaipur style, was under the guidance of Roshan Kumari and Nandita Puri. Her training in "Odissi" under the guidance of Jhelum Paranjpe has led to her grooming in Abhinaya (expressions) and Adda - graceful posture for which Aditi is well recognized. She has a master's degree in dance from Gandharva Mahavidyalaya (National School of Dance).
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Started his public appearances starting the 1980s decade for several embassies and numerous private performances. Then he danced under direction of Kumudini Lakhia in Pakistan and England in the 1990s. Once he started to choreograph in Pakistan he found a difficult sociopolitic environment (see Culture of Pakistan) fact he could get over becoming a leading figure in Kathak scene worldwide ). He has participated in events in Italy, U.K., Tunisia, Dubai, U.S., Pakistan, Japan, London, Spain, among others.
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In Tamil Arangam means a stage and etram means rising or climbing, thus arangetram literally means climbing the stage or reaching the stage. It refers to the graduation ceremony where the guru presents his or her pupil to the public. It traces its origins to the devdasi (temple dancer) tradition. Arangetram can be done for other Indian classical dance styles such as Kathak, Kuchipudi, Manipuri, Kathakali, Bharatanatyam, Mohiniattam and vocal and instruments like Mridangam, ghatam, and violin.
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His student Gulshan Kumar entered in the Guinness Book of World Records for spinning his wheelchair 63 times in one minute in 2011. Pasha is a trained and established Bharatanatyam Dancer. He is also an empanelled Bharatnatyam, Kathak and theater artist with the Indian Council for Cultural Relations, and an 'A Grade' Dancer of Doordarshan, India's National Television Channel. Pasha's group has staged more than 10,000 shows worldwide with disabled dancers, including on International Yoga Day in June, 2015.
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The exact origins of thumri are not very clear, given that there are no historical references to such a form until the 15th century. The first mention of Thumri goes back to the 19th century, with a link to the classical dance form Kathak. This was the bandish ki thumri or bol-baant and it evolved mostly in Lucknow in the court of nawab Wajid Ali Shah. At that time, it was a song sung by tawaifs or courtesans.
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In the U.S., she has performed at Carnegie Hall, New York, and presented a series of performances in Jordan, Syria and Muscat. She has also imparted training to young dancers at well-known institutions such as Gandharva Mahavidyalaya and the Shriram Bharatiya Kala Kendra. She has served as Repertory Chief of the Kathak Kendra, Delhi. Shrimati Prerna Shrimali has been bestowed the Rajasthan Sangeet Natak Akademi Award and the Rashtriya Ekta Award of the Rajiv Gandhi Foundation.
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However, when the two of them are forced to work together covering the Kargil War, a bond gets forged between them. For Prema Baraha, Aishwarya received the Filmibeat Award for Best Debutant Actress (Kannada), Chitra Sante Award for Best Debut and got nominated for SIIMA Award for Best Debutant Actor in a Leading Role (Female) - Kannada. For the film, Aishwarya learned Kathak and participated in acting workshops conducted by Kishore Namit Kapoor and Anupam Kher’s institute in Mumbai.
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Sets resembling Afghanistan were created in Chennai, with many foreigners from Russia, Iran and Africa playing American soldiers, while Haasan wore an Afghan look. In November 2011, the team also pursued schedules in Amman and Petra in Jordan with Rahul Bose's scenes being canned. Haasan learnt Kathak from Birju Maharaj for an important portion in the film. Due to delays, casting took a relatively long period of time, with several of the original cast dropping out of the project.
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The institution imparts theoretical and practical training in the following branches of music and dance - (1) Hindustani Music: Vocal (2) Hindustani Music Instrumental: Sitar, Bansuri (Lateral bamboo flute), Tabla, Harmonium and Violin (3) Indian Classical Dance: Kathak, Bharatanatyam and Odissi The courses of study followed by the Mahavidyalaya are those approved by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal. It has nearly 1200 affiliated institutions and 800 Exam Centers across India. In 2007, the number of students enrolled exceeded 100,000.
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Her father saw the news, and this changed his perception about his girl with the "twisted mouth". Dhanno was re-christened as Sitara, and she was entrusted into the charge of her elder sister, Tara for imparting her dancing lessons. Incidentally, Tara is the mother of famous kathak dancer, Gopi Krishna. By the time Devi had turned ten, she was giving solo performances, mostly during the fifteen-minute recess during movies in a cinema of her father's friend.
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Her commitment to learning dance left her with very little time, and she did not continue her schooling. By the time she was eleven, her family shifted to Bombay (now called Mumbai). Soon after reaching Bombay, Devi gave a kathak performance in Atiya Begum Palace before a select audience, which included Rabindranath Tagore, Sarojini Naidu and Sir Cowasji Jehangir. She impressed Tagore who wanted her to give a special performance in Tata Palace of the Tata Group.
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La Bayadere used vaguely Indian costuming, and incorporated Indian inspired hand gestures into classical ballet. In addition, it included a 'Hindu Dance,' motivated by Kathak, an Indian dance form. Another ballet, Sheherazade, choreographed by Michel Fokine in 1910 to music by Nikolai Rimsky-Korsakov, is a story involving a shah's wife and her illicit relations with a Golden Slave, originally played by Vaslav Nijinsky. The ballet's controversial fixation on sex includes an orgy in an oriental harem.
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Krishna and Radha dancing the Rasalila, a 19th-century painting, Rajasthan The Ras lila (IAST ') () or Ras dance or Krishna Tandava, is part of the traditional story of Krishna described in Hindu scriptures such as the Bhagavata Purana and literature such as the Gita Govinda, where he dances with Radha and her sakhis (gopis). The Indian classical dance of Kathak evolved from the 'Raslila of Braj and Manipuri Classical Dance' (Vrindavana) also known as Natwari Nritya, which was revived in 1960s by the Kathak dancer, Uma Sharma. The term, rasa meaning "aesthetics" and lila meaning "act," "play" or "dance" is a concept from Hinduism, which roughly translates to "play (lila) of aesthetics (rasa)," or more broadly as "Dance of Divine Love". The rasa lila takes place one night when the Gopis of Vrindavana, upon hearing the sound of Krishna's flute, sneak away from their households and families to the forest to dance with Krishna throughout the night, which Krishna supernaturally stretches to the length of one Night of Brahma, a Hindu unit of time lasting approximately 4.32 billion years.
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Aditi Mangaldas ensemble Mangaldas has given Kathak performances in major dance festivals in India and has been featured in festivals of India in the UK, US, and Soviet Union. Besides directing solo items, she has also choreographed a number of group ensembles that have an arresting blend of traditional and contemporary styles. She has produced several choreographic works including Cheekh, Swagat Vistar, The Sound of the Universe, and Vrindakriti. She has also conducted several workshops and presented papers at dance seminars.
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He has composed and directed music to a number of popular gramophone records sung by various artistes.Saregama : Music A percussion entitled The Drums of India and a jugalbandi with Pandit V.G. Jog on the harmonium and violin respectively have earned him wide popularity. One of his compositions was called Chaturang – involving tabla, pakhawaj, kathak and tarana. He would instruct disciples staying with him to practice late into the evenings and it is said that he would correct any errors that reached his ears.
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This also provided a common platform of dancers from both Lucknow and Jaipur gharana to allow mingling of ideas and facilitate innovations.Shanta, p. 74 After having received the Sangeet Natak Akademi Award at the age of 28, Birju Maharaj received India's second highest civilian honour, the Padma Vibhushan in 1986. Birju Maharaj retired in 1998, when retirement age was implemented at performing arts institutions as well thereafter he started his own Kathak and Indian fine arts academy, Kalashram in Delhi.
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He traces the evidence for this in the Kathakali, Yaksagana, Kathak and other Indian classical dances which share segments, themes and styles with Ramlila. James Prinsep wrote an eyewitness description of Varanasi Ramlila festivities in 1825, while H. Niehus wrote another from Ghazipur in 1905. Norvin Hein described the Ramlila of 1949 and 1950, a period of socio-political turmoil in India after the British India partition of the subcontinent into India and Pakistan. Hein reported his observations from Ramilila in Mathura.
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Nirupama Rajendra OJAS Performance in Chowdiah Memorial Hall, Bengaluru in the year 2013 In 2010, Abhinava gave a performance with the name "Ojas," a Sanskrit word meaning "vigor." It was hosted by Sri Krishna Gana Sabha in Chennai and Chowdiah Memorial Hall, Bangalore. As reported in The Hindu, the two-hour show unconventionally presented Kathak dance as a well-produced performance with slick choreography. As a part of The Joy Giving Week, they performed at SAP Labs, Bangalore for a social cause.
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Visweswaran began dancing at the age of three with her mother, Rukmini Padmanabhan, who was trained in contemporary Indian dance and Bharata Natyam. Her father was an engineer with Indian Railways, and when his job took the family to London, Chitra began to study classical ballet. Later, in Kolkata, she trained in the Manipuri and Kathak dance forms. At the age of ten, she went under the tutelage of T.A. Rajalakshmi, one of the best devadasis from Thiruvidaimarudur, who had settled in Kolkata.
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The grade system is especially adapted to different ages of pupils, and as a basis for dance as an activity in schools or other similar institutions. Grade Examinations may be taken in Classical Ballet (Cecchetti and Imperial methods), Modern Theatre, Tap, National Dance, Classical Greek, South Asian (Kathak and Bharatanatyam), Modern Ballroom, Latin American, Disco Freestyle and Classical Sequence. Grades 1-6 are accredited by Ofqual, but some Faculties have additional Grades prior to Grade 1, that is, Pre-Primary and Primary.
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"The Feast of Nine Virgins", SawNet, review by Nalini Iyer 16 February 2009 She has also subtitled a number of Urdu and Hindu films and TV serials as well as acting as commercial translator and voice-over artiste in three languages for international agencies. Siddiqi trained in Indian classical dance, (Kathak) at the Academy of Indian Dance in London. Having written extensively about Indian music, she later became a University lecturer in the subject. She acted as course manager for the B.Mus.
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Exponent of Kathak Initially, she wanted to become a doctor, but fate intervened when film director Amit Bose cast her in a dance sequence for Abhilasha in 1968, after being recommended by choreographer Harmendar. After that, she danced in more than 500 movies in the 1970s and 1980s. She has done vampish-comedy and sympathetic roles. Jayshree has acted in various Indian languages including Bengali, Tamil, Telugu, Malayalam, Kannada, Marwadi, Rajastani, English, Sindhi, Assamese, Bhojpuri, Oriya, Haryani, Garyali, Nepali, Punjabi, Marathi and Gujarati.
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Mughal women dancing Kathak style It is said that the text of the Tutinama was written in Nasta'liq calligraphy style. But each of the paintings seen in various libraries across the world focus on a single topic or episode of the stories. The straightforwardness of expressions seen in the paintings is attributed to the influence of pre-Mughal paintings. Several portfolios of Tutinama are also stated to be similar to the Malwa manuscripts with illustrations (dated to 1439 AD) but with distinct perfection.
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The difference is traced to the tasteful colours in Tutinama paintings, which make it rich in colours with graded quality. The popular dance form of Kathak, considered a combination of Indian and Persian forms, got a medium for display in the paintings of the Tutinama, the Akbarnama and the Tarrikh-e-Khandan-e-Timuria. In these paintings, men and women are shown wearing long flowing robes and high conical caps in standing positions. Even some paintings depicted two different groups of dancers.
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She had her early schooling in Delhi and graduated in Botany from the Hindu College, Delhi. She also did Honours degree in Botany later but forsook academics to concentrate on her dance career. Rani Karnaa's family moved from Sindh to Delhi when she was three and settled at Connaught Place. She soon grew a fancy for dance seeing a neighbor dancing, insisted on learning the art and started learning dance from the age of four, learning Kathak, Odissi, Bharatanatyam and Manipuri.
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Syed Sallauddin Pasha is a Bharatanatyam and Kathak dancer, Choreographer, Actor and Founder Artistic Director of Ability Unlimited, a therapeutic dance theater on Wheelchairs in India. He is recognized for his pioneering therapeutic theater productions for persons with special needs. In 2007 he received the National Award for the welfare of persons with disabilities in 2007-08 from Pratibha Patil. Pasha is a Limca Book of Records holder for creating 100 dance theater productions and directing 10,000 performances persons with different-abilities.
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As the show progresses, luck tries to take Tara towards the stage yet she fails to capitalise. She is appointed as an intern in Dancer No. 1 and she takes care of the normal stuffs regarding the participants of the show. Many twists and turns take her close to her dreams of becoming a dancer and dancing on the big stage. In one episode Radhika insists to do a Bollywood dance after her Kathak dance gets less views than Gurpreet's Bollywood dance.
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She became an actress thereafter. She is also a Kathak dancer and has performed professionally at various venues in the UK including the Royal Albert Hall. She first appeared in a Bollywood telefilm Like I Love You, produced by Shahrukh Khan's production house Red Chillies Entertainment, following which she debuted in Telugu with Kudirithe Cup Coffee, directed by Rama Selva, pairing with Varun Sandesh. She then completed working on her debut Tamil film, Muran, featuring alongside director-actor Cheran and Prasanna.
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Saswati today is regarded as an artist with immense versatility and talent and one of the best exponents of the famed Lucknow gharana. She mostly teaches and performs with her Guru Birju Maharaj in his institute, Kalashram in Jor Bagh, New Delhi. She has trained a large number of students, of which many are from around the world. She has acquired the true style of her mentor and incorporates into her own presentation both the lyrical grace and rhythmic virtuosity of kathak.
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His kingdom, long protected by the British under treaty, was eventually "annexed bloodlessly" on 11 February 1856, two days before the ninth anniversary of his coronation. The Nawab was exiled to Garden Reach in Metiabruz, then a suburb of Kolkata, where he lived out the rest of his life on a generous pension. He was a poet, playwright, dancer and great patron of the arts. He is widely credited with the revival of Kathak as a major form of classical Indian dance.
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Khayyam was born in Sylhet Division, Bangladesh and comes from a Muslim background where dance was frowned upon. She grew up in village in Oxted, Surrey, where her late father owned a business and Khayyam attended Oxted School. She trained in London initially with Alpana Sengupta before attending local dance classes under the direction of Kathak specialist, dancer, choreographer and teacher Sushmita Ghosh in 1996, part of which she trained three years at the Bharatiya Vidya Bhavan Educational Trust in London.
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In 1995, he came to Bengaluru in search of better opportunities. He was with Nirupama Rajendra, Maya Rao's Kathak Institute while performing individual concerts and composing music for ballets. He performed at Rehmat Khan Saab Music Festival at Dharwad, Abdul Kareem Khan Music Festival at Miraj, Surya Festival in Kerala and many such events. When he moved to Bangalore in 1995 and apart from his Indian Classical Concerts he also established himself as an accomplished contributor in the South Indian Film Industry.
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She is multi-lingual, and can speak Tamil, Malayalam, Telugu and English. She appeared on Maanada Mayilada as a participant and won the main prize with Bala and the choreographer Mani.Vagai filled with more appreciations She then danced in another reality show of Vijay TV, Boys vs Girls, and won the award "Best Female Dancer". She is a trained classical dancer, having learned Bharathanatyam from guru Madurai R. Muralidharan and Manimegalai for 15 years, kuchipudi from Guru Kalyani and Kathak from Guru Jigyasa Giri.
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In addition to Kathak, Gopi Krishna learned Bharatanatyam from Mahalingam Pillai and Govind Raj Pillai. Despite suffering from chronic asthma he continued to expand his dance repertoire, receiving the title of "Nataraj" (King of Dancers) at the All Bengal Music Conference at the age of 15. In 1952, 17-year-old Gopi Krishna became one of the youngest choreographers in Hindi film history when he was hired to choreograph dances for Madhubala in Saqi. In 1955, he appeared in his first film Jhanak Jhanak Payal Baaje.
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The music of the film was by Anil Biswas, his last film before retiring from Bollywood and joining All India Radio. It is noted for the song "Zindagi Khwab Hai Tha Hamein Bhi" performed by Mukesh, and the Lata Mangeshkar-Mukesh duet, "Zindagi Ka Ajab Afsana Hai". Dances were choreographed by Kathak exponent Lachhu Maharaj, who also choreographed Mughal-e-Azam (1960) and Pakeezah (1972). Director Motilal Rajvashi, a noted character actor from the 1940s till the 1960s made his directorial debut through this film.
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The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color choli, and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation. The Muslim costume for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body.
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Rohini Bhate performed extensively for five decades, and trained a large number of disciples who became important exponents of Kathak, such as Roshan Datye,Shama Bhate,Hasita Oza, Pranati Pratap, Sunil Ganu, Neelima Adhye, Prabha Marathe, and Prerana Deshpande, among several others, who continued to perform posthumously events in his honor. The academy is its head office in Pune's Shivaji Nagar, seven branches in the Pune city, one each in Indore,United States and Germany, and another in Mumbai. Documentary films have been made on her work.
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Maanu was born and brought up in Guwahati, Assam and began dancing by the age of 4. She completed her Bisharad in Manipuri and Kathak dance under the guidance of Gurumoni Sinha Singh, Guru Arabinda Kalita and Guru Hajuwari in 1992 and 1995 respectively. She then extensively trained in Bharathanatyam and performed her arangetram in 1995 under the supervision of her guru, Padma Hargopal. After embarking on a national dance tour, her passion for dancing brought her to Chennai to gain training under the Dhananjayans.
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She regularly tours for SPIC MACAY (Society for the Promotion of Indian Classical Music And Culture Amongst Youth) all over India. She has imparted her knowledge at the Welham Girls' School, a traditional boarding school at the foothills of the Himalayas in Dehradun, India. Namrrta was deputed as Kathak dance teacher cum performer by ICCR at Indian Cultural Centre in Suriname, South America in 2011. She has choreographed many dance performances for stage, television, for the Indian National television Doordarshan and National carnival in St. Lucia.
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Unmaad 2012 was organized between 26–28 January 2012. Theme for this particular year was "Escape Yourself" :celebrating real-life heroes who stood up against all odds and made their voices heard. The festival witnessed a performance by musician Benny Prasad and a workshop by music director Shantanu Moitra of Parineeta and 3 Idiots fame. The festival also played host to notable personalities from various fields including Shibani Kashyap, Nicolas Parsons (BBC television presenter) and Fastest Feet in Rhythm from California, including Kathak maestro Pandit Chitresh Das.
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Das was schooled in both major Kathak traditions, embodying each in his artistry: the graceful and sensual elements of the Lucknow school combined with the dynamic and powerful rhythms and movements of the Jaipur School. Das was a child prodigy who attained national fame, performing at age 11 with the legendary tabla maestro Samta Prasadji and in a special concert for Indian dance icon Uday Shankar. Das graduated from Rabindra Bharati University in Calcutta and earned his M.A. in dance from Prayag Sangit Samiti in Allahabad.
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Ghosh began her working life as a performer, a classical (Bharatanatyam and Kathak) Indian dancer and singer. At the age of seventeen – after acquiring an agent and an equity card — she worked extensively in theatre, which included work with leading organisations such as Max Stafford-Clark's Joint Stock Theatre Company where she was also working as Marketing and Publicity Officer. Television work followed with roles in Play For Today productions The Garland in 1981,"The Garland: Play for Today ", BFI. URL last accessed 2007-02-17.
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Dance USA Dance, also known as DUD, is an international dance competition reality TV show that airs on Zee TV USA. It is created and produced by 5678 Media Group.McDonald’s Dance USA Dance Season 2 held in New York City News India Times Retrieved 19 July 2018 In this dance competition, the teams are challenged to perform different styles of dance to South Asian or Bollywood music. The various dance forms featured are freestyle, hip-hop, Bollywood fusion, jazz, salsa, breaking, popping & locking, Bharatanatyam and Kathak.
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Divyanka, her sister Aditi and Rahat arrive at the prestigious institution Rosewood High. Rahat, a street fighter is looking forward to a new beginning as he lost his mother at a very young age and has no clue about his father. Divyanka, a talented Kathak dancer values her mother's ghungroos more than anything else. Meanwhile, Ranbir, the school champion and the head boy of Rosewood High is bullying over a guy, along with his group of friends, as the guy had messed around with Ranbir's girlfriend, Padmini.
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Uthaman told Indo-Asian News Service that a few scenes required numerous takes due to his difficulties with the language and called Mahesh considerate to have helped him. Rahul Ravindran made a small yet important cameo appearance. After considering actresses proficient in classical dance for performing a peppy dance number set in a rural backdrop, Poorna was selected as she was a trained Kathak dancer. After auditioning seventy actresses, Angana Roy was selected to play an "important part" in the film, marking her debut in Telugu cinema.
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Iron Maiden 2014. She also won the title Navy Queen 2013 and was the first runner up in the pageant Indian Princess 2013. Deepti is a trained dancer in the Indian classical dance form called Kathak as well as Bharatanatyam and has undergone training since she was three years old. Deepti made her acting debut alongside Vijay Babu and Ann Augustine in the 2015 Malayalam movie Nee-Na, directed by Lal Jose, in which she played the title character as a creative director of an ad company.
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He was born in Tellicherry,Kerala,India, to Reba Vidyarthi, a Kathak guru and Govind Vidyarthi, an expert in cataloging and archiving vanishing Performing Arts of India for the Sangeet Natak Akademi. Having started his studies at Shiv Niketan School, 7, Hailey Road, New Delhi, he later joined the Bharatiya Vidya Bhavan, Kasturba Gandhi Marg, New Delhi. In 1983, Ashish attended Hindu College and studied History. It was at Hindu College, where he joined a Theatre Group called Sambhav, run by National School of Drama alumni and started his journey in performing arts.
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Classical dance form Kathak and folk dance Charukala symbolises the rich cultural heritage of the city and its state. The play Ramlila which describes the life of Lord Rama is staged during festive seasons in Mainpuri # Fairs in Mainpuri: Cultural fairs, religious fairs and trade fair are much popular in Mainpuri as it invites people of all disciplines to rejoice the occasion. Being the district headquarters these fairs attract large number of visitors and tourist from and the district. Fairs are also common during the festival seasons like Dusshera and Ramlila in Mainpuri.
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The Swaminarayan School allocates two periods of its regular school day towards the performing arts by offering courses in instructional instrument practice (Indian & European), singing of cultural songs (bhajans), and traditional Indian dance (Kathak, Raas, and Garba). The Performing Arts Department has established itself both in the school's central curriculum in addition to encouraging students’ extra-curricular pursuits. The programme was named a finalist by the National Festival of Music for Youth for four consecutive years. The programme derives much of its support from both the parent body and the local Gujarati community.
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Shriram Bharatiya Kala Kendra is on the Copernicus Marg, a radial of the India Gate, and in the Mandi House area, Delhi’s cultural hub. It stands next to its sister body the "Kamani Auditorium" and Delhi's premier auditorium opened in 1971. On the other side is Rabindra Bhawan, which houses a host of apex government bodies for arts and culture, including, the Sangeet Natak Akademi, the Lalit Kala Akademi, while Doordarshan Directorate is across the road. Also close by are Kathak Kendra, National School of Drama, Triveni Kala Sangam and Little Theatre Group.
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Sheppard has produced the music for two BBC TV live events; The Manchester Passion in 2006 and The Liverpool Nativity in 2007. These have won numerous awards, including the BBC award for Best Music Production of the Year, which was awarded to Sheppard, together with the writer Stephen Powell. Sheppard has had a long and fruitful professional relationship with Akram Khan. He first joined Akram as an improvising cellist in the Kathak projects 'Third Catalogue' and 'Ronin', collaborating with Hanif Kureishi and the AK Company for 'The God of Small Tales'.
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She continued as s a consultant choreographer at her institute till her last days. Maya Rao's autobiography, Maya Rao – A Lifetime in Choreography was completed by her in 2013 and released by playwright and Jnanpith awardee Shri Girish Karnad in July 2014. She died of massive cardiac arrest shortly after midnight on 1 September 2014, at M S Ramaiah Memorial Hospital, Bangalore, where she was admitted around 11.30 pm due complains of breathlessness and chest pain. She was survived by her sisters Chitra Venugopal and Uma Rao, and daughter Madhu Nataraj, Kathak and contemporary dancer.
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He trained several students who subsequently made a name for themselves, including Kumudini Lakhia, Damayanti Joshi, Bharti Gupta, Gopi Krishna, Maya Rao and Sitara.Massey, p. 157 Shambhu Maharaj received the highest award of the Sangeet Natak Akademi, the Sangeet Natak Akademi Fellowship in 1967. After the death of Shambhu Maharaj in 1970, his nephew Birju Maharaj, who was associated with the institution from its inception, and a noted Kathak dancer and guru in his own right, became the Head of Faculty and also remained the Director of the institution for many years.
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Performances of Carnatic (South Indian) and Hindustani (North Indian) classical music, and dance forms like Bharat Natyam, Kuchipudi, Kathakali, Kathak, and Odissi are very popular. Yakshagana, a theatre art indigenous to coastal Karnataka is often played in town halls. The two main music seasons in Bangalore are in April–May during the Ram Navami festival, and in September–October during the Dusshera festival, when music activities by cultural organisations are at their peak. Though both classical and contemporary music are played in Bangalore, the dominant music genre in urban Bangalore is rock music.
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Directed by S.N.Sethuram and casts S.N.Sethuram and Deepa Her first movie as a dubbing artist was Abhi for Ramya, She has dubbed over 250 movies, including Jogi, Mungaru Male, Duniya, Super, Saarathi, Gaja, Raam, Just Math Mathalli, Taj Mahal, Paramathma , Jaggu Dada , Raju Kannada Medium , Mungaru Male 2 , Ranna , Googly , Sundaranga Jaana. She is sometimes credited as Deepu. She learned Kathak under Sri Nirupama Rajendra and Sri T.D. Rajendra. She traveled with them to the USA and UK and performed with them at dance festivals all over India.
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Other artists who performed here include Yoko Ono, Kate Malone, and Ewen Henderson; and renowned musicians and bands such as Ruby Turner, Ocean Colour Scene, UB40, and ELO played at MAC in the early stages of their career. Indian classical dancer Nahid Siddiqui taught Kathak classes here, and famous Bharatanatyam exponent Chitra Bolar started teaching at MAC in 1978. Their contributions established MAC as a centre for South Asian dance and performing arts. The centre closed from April 2008 to 1 May 2010 for a £14.8 million refurbishment.
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Modu and Bakshu Khan collaborated with the performers of these arts and ended up in creating a unique style of tabla playing adapted from Kathak and pakhavaj compositions, the style now being termed as "Khula Baaj" or "Hatheli ka Baaj". Among these upgrades, "Gat" and "Paran" are two types of compositions that are very common in Lucknow gharānā. Lucknow style has also conceived its very own item, known as "Raon": it consists of extremely fast, delicate and colourful fillings within broad and bold rhythmic designs working as a framework.
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Singing, dancing, and performance of any part of Krishna Lila is an act of remembering the dharma in the text, as a form of para bhakti (supreme devotion). To remember Krishna at any time and in any art, asserts the text, is to worship the good and the divine. Classical dance styles such as Kathak, Odissi, Manipuri, Kuchipudi and Bharatanatyam in particular are known for their Krishna-related performances. Krisnattam (Krishnattam) traces its origins to Krishna legends, and is linked to another major classical Indian dance form called Kathakali.
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Garib was born and raised in the small Canadian town of Penticton, British Columbia while also spending time living in Kolkata, West Bengal where her father's family is from. As a youngster, she attended Parkway Elementary, Calcutta International School, Penticton Community Christian School, Wiltse Elementary, The Glenfir School and Penticton Secondary School. Garib is of Sikh-Punjabi heritage and is fluent in English and Punjabi. Growing up in Canada, she started studying dance at the age of three in forms of ballet, jazz, tap, hip hop, modern, contemporary, musical theatre and Kathak when in Kolkata.
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Chhandayan offers lessons and classes on different branches of Indian classical music including training in vocals, Violin, Sitar, Sarangi, Bansuri, Harmonium (hand-pumped), and Tabla. Training in Indian classical dance including Kathak is also offered on a weekly basis at CCIM. Although modern technology has created the ability to reach students across the world, music instruction at Chhandayan is generally based upon the Guru-shishya tradition. Throughout the week, Chhandayan offers classes for Indian classical music and Tabla under the guidance of a Guru, mainly geared towards young students.
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The concert was made into live album named, "Swan Song-His Final Performance". Following that, Asim filmed the concert performed by Junoon at Central Park, known as "A Tribute to Nusrat Fateh Ali Khan – Junoon Live at Central Park". Asim also directed the 2nd Lux Style Awards ceremony in 2003 and short documentary about Kathak dance called Raqsan showcasing the talent of Pakistani classical dancer Fasih Ur Rehman. In 2008, he became an external board member on the board of studies for the communication design department at the Indus Valley School of Art and Architecture.
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Kumari received the Nritya Shiromani title from the Prayag Sangeet Samiti at the Twelfth All India Music Conference of 1963 and the Sangeet Natak Akademi Award in 1976. A year later, Sur Singer Samsad awarded her the Nritya Vilas honour. The Government of India honoured her with the civilian award of Padma Shri in 1984 and the Government of Bengal awarded her the Vishwa Unnyyan Samsad in 1989. She received the Maharashtra Gaurav Puraskar from the Government of Maharashtra in 1990 and the Man Patra honour from Kathak Kendra, Jaipur in 1993.
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Pt. Birju Maharaj (Kathak), Guru Rajkumar Singhajit Singh-Charu Sija Mathur (Manipuri), Dr. Saroja Vaidyanathan (Bharatnatyam), Dr. Sonal Mansingh (Odissi), Bharati Shivaji (Mohiniattam) and Raja Reddy-Radha Reddy (Kuchipudi) choreographed 480 dancers bringing alive India's "Guru-Shishya Parampara" or the master-protege tradition on stage through classical dance recitals which also depicted four different seasons of India. The aerostat (the largest ever helium balloon built for such an event) formed the leaves of the Bodhi tree, while large strips elevated from the ground, made of silk and bamboo fibre form the tree trunk.
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She married Manmohan Jayakar, a barrister, in 1937, who died in 1972. Her daughter, Radhika Herzberger, was born in 1938, and, as Director of the Rishi Valley Education Centre, presides over and runs the Rishi Valley School at Rishi Valley, Chittoor district, Andhra Pradesh; Sahyadri School in Sahyadri Hills Pune; Rajghat Besant School at Varanasi; The School, KFI in Chennai; The Valĺey School in Bangalore and other Krishnamurti Foundation of India schools. Kathak danseuse, Aditi Mangaldas is her sister, Nandini Mehta's granddaughter. She died in Mumbai, on 29 March 1997, after a brief illness.
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She joined UCLA's Center for Intercultural Performance's World Festival of Sacred Music as a staff member. After graduate school, Lee joined the Post Natyam Collective, a transnational coalition of dance artists that engage in critical approaches to South Asian dance. She joined the faculty at the University of North Carolina at Greensboro as an assistant professor of dance in the College of Visual and Performing Arts' School of Dance. She later joined the faculty at the University of California, Santa Cruz as an assistant professor of theatre arts, teaching contemporary dance and Kathak.
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By 1979, he left the AACM faculty to form his own dance school called Chhandam; his "Chitresh Das Dance Company" (CDDC) was incorporated in 1980. In 1988, Das formed the first university accredited Kathak course in the US at San Francisco State University; several current dancers of CDDC began studying with Das in the SFSU program. Das was also a guest faculty member at Stanford University. His own school of Chhandam has continued to grow with branches in San Francisco, Fremont/Union City, Berkeley, Mountain View, San Jose, Sacramento, and Los Angeles.
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Born in a Hindu family in Mumbai in 1928, she grew up in the household of General Dr Sahib Singh Sokhey and his wife Leila Sokhey (born Roy) who became known as Madame Menaka.Giants Who Reawakened Indian Dance, Kusam Joshi, 2011, Hinduism Today, Retrieved 5 September 2016 Manaka had lost her own child and she had decided to adopt Joshi. Joshi's mother Vatsala Joshi would not give up her daughter and they agreed to be joint guardians. In Manaka's troupe she learnt about Kathak from Pandit Sitaram Prasad as she toured in Menaka's troupe.
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Since they are group dances, they are often used as joyful exercise music.Bollywood dance craze hits Yorkshire The style of dance has also highly influenced international artists and appears in songs such as "Don't Phunk with My Heart", "Come & Get It", "Legendary Lovers", "Bounce" and "Never Give Up" as well as EDM hit "Lean On", "Biba", "Goosebump" (which is soundtrack of Kung Fu Yoga) and Eurovision-winning song "Toy". The choreography of Bollywood dances takes inspiration from Indian folk dances, classical dances (like kathak) as well as disco and from earlier Hindi filmi dances.
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Akram Khan, choreographer of Dust Akram Khan's Dust was commissioned for the English National Ballet's mixed bill, Lest We Forget, which is about the first world war and one of the first commissions by artistic director Tamara Rojo. For the mixed bill, Rojo said she chose choreographers who are British and from different backgrounds, including Khan, who was only trained in contemporary dance and Kathak. Though Khan had previously rejected all invitations from ballet companies, he accepted Rojo's offer, due to her "passion" and "vision". Khan said the ballet is "dominated by women".
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Mithila Painting is also known as Madhubani art is a distinct type of painting style hailing from Mithila region of Bihar Kathak classical dance form, from Bhojpur region Paag of MithilaThere are several traditional styles of painting practised in Bihar. One is Mithila painting, a style used in the Mithila region of Bihar. Traditionally, this form was practised mainly by women, passed down generation to generation. Painting was usually done on walls during festivals, religious events, births, marriages, and other cultural milestones.Carolyn Brown Heinz, 2006, “Documenting the Image in Mithila Art,” Visual Anthropology Review, Vol.
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In 1939 while at the school, she contested for a singing competition conducted for the All Island Health Week. She won the first place from the North Western Province. With the intentions to be a dancer, she learned Kathakali dancing from Shantha Kalayathana in Meeepura under Shanthi Viraj in 1967, Bharatha and Manipuri dances by Shanthi Kumar Seneviratne and Kandyan dancing under Heenbaba Dharmasiri for eight years. She was the first Sri Lankan graduate of Bharath Kathak Dance and started a music company called Sangeetha Kendra in 1977.
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Rasa lila has been a popular theme in Kathak, Bharatanatyam , Odissi, Manipuri, and Kuchipudi items. Rasa Lila is a popular form of folk theatre in the regions of Mathura, Vrindavana in Uttar Pradesh, especially during the festivals of Krishna Janmashtami and Holi, and amongst various followers of Gaudiya Vaishnavism in the region. Raas Leela (Raax Mahotsav) is also observed as one of the State Festivals of Assam which usually is celebrated during Late November or Early December. During Raas Mahotsava, several thousand devotees visit the holy temples and Xatras of Assam every year.
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Trips within Thailand are usually 1-3 days in length, and highlight a historical site, cultural performance, or heritage preservation project. The guides are experts from the Society's membership and network. Musical concerts and cultural performances are regularly staged in the auditorium, and occasionally outside in the grounds. Besides classical music, both Thai and western, there have been performances of Taiko drumming from Japan, Kathak dance from India and Flamenco dance from Spain. In the 1990s, the Society conducted a project on “National Living Treasures,” including performances of music, dance, and puppetry.
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She began her career dancing with Ram Gopal as he toured the West, bringing Indian dance to the eyes of people abroad for the first time, and then became a dancer and choreographer in her own right. She learned first from various gurus of Jaipur gharana, and then from Shambhu Maharaj. She is particularly known for her multi-person choreographies. Some of her most famous choreographies include Dhabkar (Pulse), Yugal (The Duet), and Atah Kim (Where Now?), which she performed at the annual Kathak Mahotsav in Delhi in 1980.
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Ramakant Gundecha (2012) After training for four years, they performed in public for the first time in May 1985, at the Uttaradhikar dance and music festival in Bhopal. They have worked to expand the dhrupad repertoire by incorporating texts by Hindi poets such as Tulsidas, Padmakar and Nirala. The Gundecha Brothers also sing the Dhrupad compositions of India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech, in particular, his famous Shankar Pralayankar composition. They have set up a Dhrupad institute outside Bhopal where they teach students from all over the world.
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Dance in early Hindi films was primarily modelled on classical Indian dance styles such as Kathak, or folk dancers. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film. Typically, the hero or heroine performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song.
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Nikita Rawal (born 16 July 1990) is an Indian Kathak Dancer and film actress. Born and brought up in Mumbai, Maharashtra, she is known as an organizer and a performer in Bollywood and South Indian movies. Having started her career in 2010, Rawal has worked in movies such as Black & White with Anil Kapoor and Shefali Shah, Mr Hot Mr Kool, The Hero – Abhimanyu, Ammaa Ki Boli, Garam Masala, starring Akshay Kumar and John Abhraham, Cute Kamina etc. She has also worked in Tollywood since 2012, and has received 8 awards.
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"Deewani Mastani" fuses elements of Marathi folk with Sufi, establishing its character's exposure to both forms. The war cry "Malhari" and the devotional "Gajanana" are weapons in Bajirao's armour. The album also meshes semi-classical with qawwali in "Aayat" while "Mohe Rang Do Laal" has Pandit Birju Maharaj interspersing Shreya Ghoshal's vocals with Kathak bols (mnemonic syllables) "Albela Sajan" from Hum Dil De Chuke Sanam (1999), gets a makeover with a sitar and chorus interlude. "Pinga" and "Fitoori" incorporate a lavani tempo with Bollywood trimmings to produce a fantastic melange.
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Uppekha Jain was born in a Jain family in Jammu. She grew up in the Greater Toronto Area and though studious, she was always encouraged to explore the arts. Jain is an accomplished kathak and bharatnatyam dancer, having performed across the world as a Company A dancer with Toronto's finest Classical Indian Dance Institute Sampradaya Dance Creations, under the tutelage of the renowned Lata Pada. Jain spent her teenage years in Mississauga enrolled in the International Business & Technology program at Gordon Graydon Memorial Secondary School and later transferred to The Woodlands School.
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Abdul Ghani was a great patron of the arts of the baijees, the hereditary dancing girls introduced to Bengal by Wajid Ali Shah, the Nawab of Awadh. Baijees, known as the Tawaif in Northern India, danced a special form of Kathak focused at popular entertainment along with singing mostly in the form of Thumri. Apart from the Nawab's mansions they also danced at Durga puja and at European mansions at that time. During his reign, baijees used to perform regularly for mehfils and mujras at the Rangmahal of Ahsan Manzil, Ishrat Manzil of Shahbagh, and the garden house of Dilkusha.
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Shashi Sankhla has won many accolades, including Sangeet Natak Academy Rajasthan (2001) by then Chief Minister of Rajasthan Shri. Ashok Gehlot and Sangeet Natak Akademi Award , New Delhi in 2008 by then President Of India Smt Pratibha Patil. In addition to this she was conferred the Degree of Doctorate of Philosophy by Inter Cultural Open University, Netherlands (2003). She was also awarded Fellowship by HRD Ministry of Art and Culture on the topic "MAAND" (a semiclassical style of singing of Rajasthan)-"Kathak Nritya Mein Abhinaya Ka Ek Sashakt Madhyam " that fulfills the much needed requirement of "Thumri" of Jaipur Gharana .(2001-2003).
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Shankar's pedagogical structure was followed and developed in this school with Amala Shankar successfully running the school and the dance troupe for next 50 years. The school continued till 2015, remaining dedicated to carrying on with Shankar's ideas about processes of innovative and creative dance making. Uday Shankar India Culture Centre continued to offer training in classical dances (Kathakali (throughout the 50 years), Bharata Natyam (from beginning till 1977 and again from 1995 – 2009), Manipuri (for the first 8 years), Kathak (from 1977 till 2015), Odissi ( for 5 years) and offered training in Uday Shankar's creative processes involving observation, innovation, improvisation.
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In 1982, Paust founded the collective Music Ensemble of Benares with which he started his first European tour. From that point forth, this ensemble has performed regularly in Europe as a more or less open unit encompassing many different musicians and various instruments. Since that time Paust has striven to bring new ideas and explore new facets of musical development. Besides presenting traditional raga and Kathak dance he has organised more experimental musical projects, most notably, between 1989 and 1994, the "Jazz meets India" sessions with jazz musicians from the USA: Paul Horn, John Handy, David Friensen et al.
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A practicing Hindu, Ranaut follows the teachings of the spiritual leader Swami Vivekananda and considers meditation to be "the highest form of worshipping God". She practices vegetarianism and was listed as "India's hottest vegetarian" in a poll conducted by PETA in 2013. Since 2009 Ranaut has been studying the dance form of kathak from the Nateshwar Nritya Kala Mandir. She has said that the technical process of filmmaking is of tremendous interest to her, and to better her understanding of it Ranaut enrolled in a two-month screenplay writing course at the New York Film Academy in 2014.
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Born into a family steeped in Indian classical music and dance, melody and rhythm has always been an integral part of Ranjit's life. His mother was the renowned Kathak dancer, Sitara Devi. His response to the western drum kit, even at the age of 12, was almost organic and his natural flair, ease and craft catapulted him onto becoming one of India's leading artists on the instrument at the age of 17. In 1980 he performed at the Jazz Yatra in Europe with the Jazz Yatra Sextet (with Louis Banks), besides performing with Pandit Ravi Shankar's ensemble on the same tour.
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In Hindustani music (North Indian classical music), a gharānā is a system of social organization in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style. The word gharana comes from the Hindi word 'ghar' which is derived from the Sanskrit word Griha, which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing khyals are: Agra, Gwalior, Indore, Jaipur, Kirana, and Patiala. Four famous Kathak Gharanas are - Lucknow, Jaipur, Banaras and Raigarh.
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Born in Kolkata, India, Sunayana Ghosh learned music from her mother, who is a vocalist and her tabla gurus such as Samar Mitra, Pandit Shankar Ghosh of Farukhabad gharana and his son Bickram Ghosh. Beside being a tabla soloist and accompanist and sharing stage with some masters of Indian classical music, Sunayana Ghosh is familiar with Indian vocal music and kathak dance and holds a Master of Arts in Music. As a female tabla player, she has performed in India as well as Europe, Armenia and Turkey. Her very recent performance was aired by UK Radio (Surtarang FM).
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Balakrishna (Kamal Haasan), fondly called Balu, is an economically disadvantaged but multi-talented dancer, adept at the Indian classical dances of Kuchipudi, Bharatanatyam, Kathak, etc. His simple and very honest soul does not permit him to attain professional success in the commercial world that requires a certain level of moral laxness. Madhavi (Jaya Prada), a wealthy young woman and a dance patron, notices his talent and acts as his benefactress, helping him secure an opportunity to participate in a high-level classical dance festival. Balu's aging mother passes away from the afflictions of poverty two days before the performance.
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Playback singer S. P. Sailaja was recruited to play a prominent role, thereby making her debut as an actress and it also remains her only film she had acted in so far. K. Viswanath who is related to Sailaja, decided that she would fit perfectly in the role of Kamal Haasan's pupil, after seeing the photos. Sailaja recalled: "I was reluctant as I was trained only in Bharatanatyam, but in the film I had to perform other dance forms like Kathak too. While shooting my introductory song "Om Namah Shivaya" at Ravindra Bharathi, I became nervous on the stage and refused to act".
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Khan was born in Wimbledon, London, England, into a family from Dhaka, Bangladesh. He began dancing and trained in the classical South Asian dance form of Kathak at the age of seven. He studied with Sir Pratap Pawar, later becoming his disciple. He began his stage career in the Adventures of Mowgli tour 1984–1985 produced by the Academy of Indian Dance, now Akademi South Asian Dance. At the age of 13, he was cast in Peter Brook's Shakespeare Company production of Mahabharata, touring the world between 1987 and 1989 and appearing in the televised version of the play broadcast in 1988.
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Each year in the month of April, the temple organizes a classical music and dance concert festival titled "Sankat Mochan Sangeet Samaroh", in which musicians and performers from all over India take part. The first festival was organized 88 years ago, and it has invited musicians and dancers including Odissi guru Kelucharan Mahapatra, who was associated since its early days. In fact he was instrumental in starting women's participation in the festival with Sanjukta Panigrahi, Swapna Sundari and Kankana Banerjee. In 2009, the six-day concert saw over 35 artists including, vocalist Jasraj and Kathak exponent Birju Maharaj.
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The sweetness in their voice makes the music very much soothing and creates a very nice ambiance. It consists of six to seven members (maximum) and there is no particular singer, one of the dancers himself is the lead singer among the dancers that sings in a melodious voice and the other members join him in the chorus, this creates a very soothing effect as most of the singers are young in age. The dresses worn by dancers somewhat resemble those worn by Kathak dancers. Their face is beautifully adorned to represent that of a girl.
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Nrityagram is India's first modern Gurukul (residential school) for Indian classical dances and an intentional community in the form of a dance village, set up by Odissi dancer Protima Gauri in 1990. The residential school offers training in Indian classical dance forms, Odissi, Mohiniattam, Kathak, Bharatnatyam, Kuchipudi, Kathakali and Manipuri, eight hours a day, six days a week for seven years, following the ancient Guru-shishya tradition. Designed by famous Indian architect Gerard da Cunha, the community is situated near Hesaraghatta Lake 30 km from Bengaluru. Today the Nrityagram Dance Ensemble has performed across India and in many countries abroad.
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In 1993, she played a female lead role in PTV drama "Maig Malhar" – a love story of 13 episodes based on the division of Pakistan in 1971. She also awarded best actress award for this drama serial. Then she acted in "Jaal", Pakistan's first soap opera of 100 episodes, which went on air in Pakistan and on the satellite channel, Zee Tv from London. In 1994, she performed in NTM (Network Television Marketing) Prime Time Show. She choreographed and danced in a fusion of Kathak and Modern Dance to Nusrat Fateh Ali Khan’s song "Mera Piya Ghar Aya".
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Classical Indian musical theatre theory can be traced back to the Natya Shastra of Bharata Muni (400 BC). The Sangeet Natak Akademi currently confers classical status on eight styles: #Bharatanatyam #Odissi #Kuchipudi #Kathak #Mohiniaattam #Kathakali #Manipuri #Sattriya Classical Indian musical theatre at its best is Natya Yoga, has the most powerful means to lead its worshipers, the artist, to the Divine. It is a sincere depiction of the Divine. It is a sincere depiction of the realities in life, an embodiment of the imagination and gracefulness, the very soul which thereby creates as it were the “Idol of the Beautiful”.
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Sitara Devi was born in Kolkata (then Calcutta) on 8 November 1920, which in that year coincided with the festival of Dhanteras, the eve of the Indian festival of Dipavali. She was therefore named Dhanalakshmi, in honour of the goddess of good fortune who is worshiped especially on that day. Dhanalakshmi's paternal family was of Brahmin heritage and hailed originally from Varanasi, but had settled in Kolkata since many years. Her father, Sukhadev Maharaj, was a Brahmin gentleman and a Vaishanavite scholar of Sanskrit, but he earned his livelihood by teaching and performing the Kathak dance form.
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About the University from the website of Indira Kala Sangeet Vishwa Vidyalaya, accessed 06-sep-2008 To join and study at the Indira Kala Sangeet Vishwavidyalaya is a way to enjoy Indian art forms. The university offers a long list of subjects and courses related to diverse art forms like classical vocal music (Hindustani and Carnatic), classical instrumental music (Hindustani and Carnatic), classical dance styles (Kathak and Bharatanatyam), folk dance and music, painting, sculpture, graphics, history of Indian art and culture, and various literatures. The university is involved in teaching and research in Indian performing and visual art forms.
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In 2001, Khayyam made her professional debut at the Purcell Room, Southbank Centre. Her performance ranges from classical Kathak, in which, she has received high accolades for her Abhinaya, to multi-media performances such as the principle performer in the Akademi/South Bank's outdoor spectacle Escapade in 2003 and in International Arts' and Forum for Laboratory Theatres of Manipuri's production of Macbeth-Stage of Blood on the River Thames. In 2007, she set up her own company, Amina Khayyam Dance Company. Khayyam is the founder and artistic director Amina Khayyam Dance Company, which uses Khathak as the core narrative.
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Astad Deboo (born 1947) is an Indian contemporary dancer and choreographer, who employs his training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him, and has become a pioneer of modern dance in India.Pioneer of modern dance The Hindi, 31 December 2002. Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alison Becker Chase and Pink Floyd, and performed in many parts of the worldBlending the Modern with the Traditional SPAN magazine.Astad Deboo to Oslo Embassy of Norway, India.
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Justin entered dance choreography in the early 1990s with a poem from Sangam literature, Madurai Kanchi, still one of his noted works. Having learnt Carnatic music, he also compose music for his choreographic works. His choreographed Kshetrayya, based on the imagined life of a 17th-century poet-musician by the same name, was a "hit", and his 2009 production, Rajavilasam — Splendours of the Courtesans performed by Gati Forum also received rave reviews. In 2010, his dance repertoire troupe, presented a production Lokaalokam, a fusion of three Indian classical dance forms, Chhau, Kathak and Bharatanatyam at the "Ananya Dance Festival" in Delhi's 16th- century Purana Qila.
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As she had no formal dance training, she underwent intensive instruction in classical dance from co-star Gopi Krishna for the film Jhanak Jhanak Payal Baaje. The two play Kathak dancers who are preparing for an important competition, but face opposition from their dance guru when they fall in love. The film was very successful and went on to win four Filmfare Awards as well as the National Film Award for Best Feature Film in Hindi. Sandhya starred opposite her husband in the film Do Aankhen Barah Haath, where she played Champa, a toy seller who fascinates the warden and inmates as she walks outside their jail.
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His grandmother was a well known dancer. Drawn to dance early on in his life, he learned Kathakali from Guru Kunju Kurup and Chandu Panickar. Once he danced at the annual garden party of the Maharajah of Mysore without his father's permission, but the Maharaja persuaded his father to allow him receive further dance training. While in this early forties, he discovered Guru Meenakshi Sundaram Pillai of Pandanallur style under whom he started learning Bharatanatyam, followed by Muthukumaran Pillai; he also learned Kathak from Sohanlal and Bowri Prasad and even Manipuri dance, all of which he assimilated into his choreographies in the coming decades.
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A pair of ghungroos Kathak Danseuse Namrta Rai performing with 400 Ghungroos A ghungroo (, ), also known as ghunghroo or ghunghru or ghungur or ghungura (Assamese & Bengali & Odia) or Chilanka or Silangai (in Malayalam & Tamil respectively), is one of many small metallic bells strung together to form ghungroos, a musical anklet tied to the feet of classical Indian dancers. The sounds produced by ghungroos vary greatly in pitch depending on their metallic composition and size. Ghungroos serve to accentuate the rhythmic aspects of the dance and allow complex footwork to be heard by the audience. They are worn immediately above the ankle, resting on the lateral malleolus and medial malleolus.
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During his long career Andrade has worked with numerous artists such as Javir Baron, Israel Galvon, Antonio "El Pipa", Javier Cruz, Pilar Astola, Sara Baras, Carmen Ledesma, Meme Mengibar, Concha Vargas, Manolo Marin, Andr� Heller, et al. He has demonstrated his artistic talents in numerous concerts and tours at home and abroad. He is the founder and art director of the Compania Flamenca Alhama & Maria Serrano and has started a second project called "Fiesta Flamenca". Since 1995 Andrade has been working with the Music Ensemble of Benares and their Kathak Flamenco project, in which he has an important part as guitar player and composer •Joy, Joby (born 1978, Wayanad, India).
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He taught workshops at the Darpana and Kadamb Institutions in Ahmedabad, M.S. University in Baroda, Nalanda Dance Institute and NCPA in Mumbai; and his company undertook a six- city tour of India. The following year he organized the American debut and tour of the Jhaveri Sisters, renowned exponents of Manipuri Dance. In 1995, Hollander curated "PURUSH: Expressions of Man," a program celebrating male performers representing various classical Indian dance styles including Bharata Natyam, Kathak, Kuchipudi, and Kathakali. This program made its debut at The Music Centre in Chennai; appeared at the Lincoln Center Out-of-Doors Festival; and undertook an 18-city tour of the United States.
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A modern Kathak, in all three major sub-traditions called Lucknow, Benares and Jaipur styles (gharana), states Bruno Nettl, consist of three main sections - the invocation, one pure (abstract) dance recital and one expressive dance. The invocation (vandana) consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures (mudra) to invoke Hindu gods and goddesses; while a Muslim performance replace the devotional expressions with a salami (salutation). The pure dance is called a nritta, while the expressive dance is called a nritya.
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The building houses over 124 classrooms each measuring in area, for the students from nursery to Std.XII. In addition to these, there are rooms for academic activities such as the Technical Drawing Room, the Art Room, the Maths Laboratory, the Environmental Science room and rooms for Bharat Natyam, Kathak and folk dance, a library, stationary, copy room, science labs, fashion designing room, the sitar room, rooms for Indian and Western Music and 4 modern Computer Centers. The entire central area in the first floor is the arena for cultural activities. The Physics/Biology/Chemistry laboratories and the Science Activity Center are on second floor.
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While in India, Pandit Das continued his work with the New Light Foundation, teaching Kathak dance to the children of sex workers of the Kalighat red light district in Calcutta as a part of a program to help them break free of the cycle of exploitation. Mehta would get an award from the President of India for similar work in 2019. As he was trained by his Guru, Pandit Ram Narayan Misra, Das trained his own students, both in the US and India, within the guru-shisya parampara (the tradition of master and disciple). A Guru is “one who removes the darkness” through direct knowledge and training.
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Enredados: la confusion directed by Prabhakar Sharan was shot at different locations, of India, Costa Rica, and Panama with the support of famous professionals such as award-winning cinematographer Suresh Beesaveni, Parvez Shaikh, Tapan Jyoti Dutta, Kaushal Kathak, Rakesh Sharma, Sunil Balu and more than 1200actors and extras from Latin America and India. Due to "Enredados La Confusion" a huge market has opened for Indian Producers and vice versa. Many Co-production deals have been signed recently to follow the same Bollywood recipe which will work for both industries. The movie developed a new market for Indian cinema which was totally untouched by the people of Bollywood.
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The criteria for being considered as classical is the style's adherence to the guidelines laid down in Natyashastra, which explains the Indian art of acting. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North, West and Central India), Kathakali (Kerala), Kuchipudi (Andhra), Odissi (Odisha), Manipuri (Manipur), Mohiniyattam (Kerala), and Sattriya(Assam). All classical dances of India have roots in Hindu arts and religious practices. The tradition of dance has been codified in the Natyashastra and a performance is considered accomplished if it manages to evoke a rasa (emotion) among the audience by invoking a particular bhava(gesture or facial expression).
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The film opens in a rundown pigeon shop in New York City where an old man feeds them. He then sends one pigeon away. It flies high and lands in a skyscraper off the office window of a psychologist who is conducting a session with her client Nirupama, a nuclear oncologist who begins to confide that hers was a marriage of convenience that provided a safe haven for pursuing her PhD in the US for past three years and that her husband Vishwanath alias Viz is a middle-aged Kathak teacher. She is also put off by Viz's effeminate bearing and is attracted to her boss, Deepankar.
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Brooks's work as a composer has been recognized with numerous awards and commissions. In 2004 he received an Arts International grant to develop compositions with Kathak choreographer Shama Bhate in Pune India and an Arts International Touring grant to perform at the Istanbul International Jazz Festival. Brooks received the 2007 American Composers Forum Global Harmony Prize to create the score for Mirrors of Mumbai, a contemporary Indian jazz opera (book by Sonal Acharya) performed by Opera Piccola in Berkeley, California. In 2008, the American Composers Forum and the California Jazz Conservatory commissioned Brooks to compose and perform Double Moiré, featuring the poetry of and performance by beat poet Michael McClure.
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The garden was laid out in about 1800 as a royal garden by Nawab Saadat Ali Khan. It was later improved upon by Nawab Wajid Ali Shah, the last native ruler of Oudh, during the first half of the 19th century, who used it as his summer villa. The garden has a small pavilion in the middle, which was likely the scene of innumerable performances of the Ras-lilas, and Kathak dances, music and poetic 'mehfils' and other cultural activities which the last Nawab had a great appreciation for, indeed possibly too great a one as history has judged him to have been over-fond of his leisure interests.
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Written by celebrated Canadian playwright John Murrell, Taj combined poetry, music, theatre, and the Indian classical dance form kathak. The production was described by The Globe and Mail critic Deirdre Kelly "as luminous and poignant as the building that inspired it". In the same year, Ray appeared in Craig Goodwill's award-winning fantasy drama short Patch Town, and a season 4 episode of Canadian Television period crime drama series Murdoch Mysteries, titled The Black Hand. She presented the 2011 IIFA Awards in Toronto, and was a co-presenter the 2011 Giller Prize along with singer- songwriter Nelly Furtado and roots rock guitar legend Robbie Robertson.
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Uma Sharma's family hails from Dholpur in Rajasthan. Born in Delhi in 1942, Uma Sharma received her dance training from Guru Hiralalji and Girvar Dayal of the Jaipur gharana, and subsequently she became a student of Pandit Sunder Prasad of the Jaipur gharana who emphasised rhythmic footwork and its permutations. Shambhu Maharaj and Birju Maharaj noted gurus of the Kathak tradition of the Lucknow gharana, known for the art of abhinaya, subsequently Uma Sharma sought to achieve a creative fusion of the two. Uma went to St. Thomas' School (New Delhi) for schooling, and then graduated from Lady Shri Ram College for Women, also in New Delhi.
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Among the better-known folk dances are: the bhangra of Punjab, the bihu of Assam, the Jhumair and chhau of Jharkhand, Odisha and West Bengal, garba and dandiya of Gujarat, ghoomar of Rajasthan, and the lavani of Maharashtra. Eight dance forms, many with narrative forms and mythological elements, have been accorded classical dance status by India's National Academy of Music, Dance, and Drama. These are: bharatanatyam of the state of Tamil Nadu, kathak of Uttar Pradesh, kathakali and mohiniyattam of Kerala, kuchipudi of Andhra Pradesh, manipuri of Manipur, odissi of Odisha, and the sattriya of Assam. Theatre in India melds music, dance, and improvised or written dialogue.
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The two main traditions of Indian classical music are Carnatic music, which is practised predominantly in the peninsular (southern) regions, and Hindustani music, which is found in the northern, eastern and central regions. The basic concepts of this music includes shruti (microtones), swaras (notes), alankar (ornamentations), raga (melodies improvised from basic grammars), and tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music. Sangeet Natak Academy recognizes eight classical dance and music forms, namely Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.
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The 4th edition of festival took place on 1 and 2 December 2018 at Pyarey Lal Bhavan, Bahadur Shah Zafar Marg, New Delhi. The event was primarily organised by Harmless Hugs with support from various organisations like Canada High Commission, Samarth, India HIV/AIDS Alliance, Ketto, The Humsafar Trust, Miss Woomaniya, LGBT Events India, and others. This festival saw street theatre performances on HIV, various plays related to LGBTQ+ like Lihaaf/Ehsaas, Mard, Anhad e Kathak (a dance drama on HIV/AIDS) and films like How Was Your Day, Zara Nazar Utha Ke, Misswomania and more. As for the talks and discussions, Simran Shaikh, Arvind Gaur and Sonal Mehta were some of the speakers at the festival.
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Sushil Kumar Saxena is an Indian musicologist, academic, scholar and the author of several books on music, philosophy and aesthetics. He is a former member of the faculty of the University of Delhi and has served the University Court as a member. His works include Studies in the Metaphysics of Bradley, Hindustan Music and Aesthetics Today, Art and Philosophy: Seven Aestheticians, Croce, Dewey, Collingwood, Santayana, Ducasse Langer, Reid, and Swinging Syllables Aesthetics of Kathak Dance and his lectures have been included in a book, Indian Music: Eminent Thinkers on Core Issues ; Discourses by Premlata Sharma, S. K. Saxena and Kapila Vatsyayan. He is a recipient of the Sangeet Natak Akademi Fellowship which he received in 2007.
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The origins of this singing style are not known and according to its foremost singer Teejan Bai, it might be as old as the Mahabharata itself, as few people could read in those times and that is how perhaps they passed on their stories generation after generation.Teejan Bai Interview Traditionally, Pandavani was performed exclusively by men. Since the 1980s, however, women also began to present Pandavani. Pandavani can be understood as a part of the tradition of the tellers-of-tales present in every culture or tradition (like Baul singers of Bengal and Kathak performers), where ancient epics, anecdotes and stories are recounted or re-enacted to educate and entertain the masses.
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The patronage of the Mughal court before and after the Mughal Dynasty in the Doab region and the artistic atmosphere of 16th century Lucknow made arts-related careers a viable prospect. Many girls were taken at a young age and trained in both performing arts (such as Kathak and Hindustani classical music) as well as literature (ghazal, thumri) to high standards. Once they had matured and possessed a sufficient command over dancing and singing, they became a tawaif, high-class courtesans who served the rich and noble. The tawaif's introduction into her profession was marked by a celebration, the so-called missī ceremony, that customarily included the inaugural blackening of her teeth.
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Birju Maharaj started adapting the dance, which was till now staged for small gatherings in temple courtyards or Mehfils to one catering to large gatherings in the modern proscenium theatre, and created several noted ballets in his period. Gradually what was essentially a solo-dance, moved towards expression in group performances.Massey, p. 158 Over the years the repertory wing, formerly known as 'Ballet Unit' has created notable production of Kathak ballet, with evolved stage and costume design as well as elaborate music, Taj ki Kahani (1966) was choreographed by Krishna Kumar, and had music by Amjad Ali, Shan-e-audh (1968), Kumara Sambhav and Dalia all choreographed by Birju Maharaj and with music by Dagar Brothers.
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Lucknow gharānā, also known as "Purab gharâna", is one of the six main gharānās or styles in tabla. It is characterized by the full usage of the palm besides the fingers, resonant sounds, and the use of ring and little fingers on the Dayan (treble drum). The Gharana branched out of the Delhi gharānā when the two brothers Modu Khan and Bakshu Khan, the third generation of the lineage of Delhi's Mia Siddhar Khan, moved to Lucknow, due to political disturbances in Delhi, while one brother Makkhu Khan stayed on in Delhi. In Lucknow, the Nawabs (Muslim princes) mainly patronised Kathak, a classical dance form of the North accompanied by the pakhavaj, the still living ancestor of tabla.
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Mughal-e-Azam recruited a cast and crew of over 350 people, including 30 classically trained Kathak dancers who had been living and training in Mumbai for three months. Since the lead actresses had to both sing and dance simultaneously, two actresses — Neha Sargam and Priyanka Barve — played the part of Anarkali alternatively. Theatre actors Nissar Khan, Syed Shahab Ali, and Dhanveer Singh played the parts of Akbar and Salim respectively. For special show in Singapore Theatre actor Harsh Jha essayed the role of anarkali The part of Jodha Bai was played by Sonal Jha Rajesh jais & Tareeq Ahmed Khan played part of Sangtarash/Narrator,and Palvi Jaswal essayed the role of Suraiya.
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She began her training in acting at the age of eight in school where she earned the Gold Medal with an Honours at The London Academy of Music and Dramatic Art Acting Examinations. She also took a short course at The Arts Educational Schools of London. When she was 18, she moved to Mumbai and joined Anupam Kher's Actor Prepares - The School of Actors for a 3-month course. Soniya is also a trained dancer, having started ballet when she was only 5 years old, she went on to do various forms of dance like street jazz, ballroom (which includes samba, tango, blues, and jive), Bollywood dance, kathak, hip hop and belly dancing.
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Further, the Maratha rulers of Tanjore patronized and contributed towards Bharatanatyam. Rukmini Devi Arundale, here in 1940, helped revive Bharatanatyam after Hindu temple dancing was banned by the British colonial government in 1910. With the arrival of the East India Company in the 18th century, and British colonial rule in the 19th, many classical Indian dance forms were ridiculed and discouraged, and these performance arts declined. Christian missionaries and British officials presented "nautch girls" of north India (Kathak) and "devadasis" of south India (Bharatanatyam) as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" in 1892.
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Of the six established tabla gharanas or schools of tabla playing, the Benares Gharana, of which Bose belongs, has been the most staunch in its refusal to compromise the traditions when moving into more lucrative contemporary fusions. While criticised decades ago for his rigidity and refusal to adapt modern fusion and film music, Bose is now credited with preserving classical musical style and philosophy. He has kept the tradition of the Benares Gharana by subtly balancing the warm bass tones of the bayan with the higher-pitched crisp tones and syncopations of the dayan. Many of Bose's compositions have been written to accompany the rhythmical movements of kathak dancers and are a speciality of the Benares tradition.
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Pabonka Potrang, shown on the left The upper floor of the Pabonka Potrang building, perched on a pile of rocks, has a notable assembly hall on the second floor and contains a photograph of the current abbot and a chenresig statue hidden on the right behind a pillar. The interior chapel contains an ancient conch shell (dungkhar) wrapped in a prayer scarf (kathak) displayed in a glass case. In the adjacent room is a four-pillared Kashima Lhakhang with statues of three kings and their wives and various eminent lamas. The rooftop quarters, intended for the Dalai Lama on his visits, contains a statue of the deity Demchok and offers panoramic views of the hillside towards Lhasa.
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Saswati's commitment in developing standards of Kathak has motivated her to conduct workshops and master classes not only all around the world, but all in the remote locales of India. She has also choreographed several short and major productions for students in the several workshops in India and abroad. Her leadership in motivating young minds, has also created several popular events – such as the 'Walk for Art' in Delhi and Mumbai; camps in music-dance-painting; quiz competitions for school-going students and panel discussions with teachers and performers sharing their various experiences. She has also been designing programmes wherein several dance forms and other media share the stage together and bring out their individual and collective spirit.
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There the eleven-year-old dancing damsel studied kathak, with all its nuances, for three hours. Tagore called her to felicitate her in the traditional Indian style of giving her a shawl and a gift of Rs. 50 as a token of her appreciation. Recalling those moments, Devi once said: "But as I thrust out my hand to receive gifts, I remember my father nudged me and whispered in my ear: ‘Don’t take only the gifts! He is a great man: ask for his blessings, girl!’ Obediently, I asked Gurudev to bless me that I would become a great dancer some day." Her debut was at Jehangir Hall (Mumbai), then the centre of metro’s cultural life.
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Akhil Bharatiya Gandharva Mahavidyalaya Mandal (अखिल भारतीय गान्धर्व महाविद्यालय मंडल, "All India Music University Board") is an institution for the promotion and propagation of Indian classical music and dance. The administrative offices of ABGMVM are in Miraj, while its main music school or Sangeet Vidyalaya is in Vashi, Navi Mumbai. The institution provides training and certification in vocal music; instrumental music, including melody instruments such as sitar as well as percussion instruments such as tabla; and various classical dance forms such as Odissi, Bharata Natyam, and Kathak. ABGMVM has laid out courses of study in these performing arts for levels ranging from Prarambhik (beginner) to Sangeetacharya (literally "teacher of music"; equivalent to a doctorate).
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Shriram Bharatiya Kala Kendra (SBKK) (English: Shriram Bhartiya Centre for Arts) is an Indian cultural institution which runs a noted school for music, dance and performing arts in New Delhi. It was founded by Sumitra Charat Ram in 1952, and imparts training in Indian classical dance styles and music, including Kathak, Bharatanatyam, Odissi, Chhau, Hindustani Classical music, both Vocal and Instrumental. It associated organisation is the Shri Ram Centre for Performing Arts at Safdar Hasmi Marg, in the Mandi House area, the cultural hub of Delhi, the centre includes a theater for the performing arts, a theatre repertory company and an acting school. Often referred as Bharatiya Kala Kendra, the Kala Kendra hold an important place in history performing arts education in India.
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Though the Sangeet Natak Akademi functions as an autonomous organization of the Ministry of Culture, its programmes are completely funded by the Government. The Sangeet Natak Akademi is defined as "the apex body of the performing arts" in the country and primarily focuses on "preserving and promoting the vast intangible heritage of India's diverse culture expressed in the forms of music, dance and drama". The Akademi has also established various institutions in the fields of performing arts: the National School of Drama in New Delhi in 1959, the Jawaharlal Nehru Manipur Dance Academy in Imphal and the National Institute of Kathak Dance in New Delhi in 1964, and the Koodiyattam Kendra in Thiruvananthapuram in 1990. Since 1965, the Akademi also publishes a quarterly journal, Sangeet Natak.
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Chakraborty has formed an exclusive women's musical group called the "Sakhi" (meaning, friend) which is a forerunner in classical music in the country to "celebrate womanhood" and as a dedication to the famous mythological and historical woman of India – Ganga, Saraswati, Durga, Lakshmi, Draupadi, Kunti, Sita, Radha and Meera. The first programme of the group was planned to be held on 20 January 2015 at Kala Mandir, Mumbai. Chakraborty was the vocalist and the other members of this group were Shaoni Talwalkar on the tabla, Mahima Upadhyay on the pakhwaj, Debopriya Chatterjee on the flute, Nandini Shankar on the violin while the Kathak dance performance was by Bhakti Deshpande. They are daughters or grand daughters or disciples of famous Hindustani musicians.
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Its roots are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The Natya connects through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein asserts Natyashastra, the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. According to Massey, another important ancient text that has influenced Kathak is the Abhinaya Darpanam of Nandikeshvara (~2nd century CE).
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She was born on 1 October 1990 in Mumbai to Shashi Ranjan, an actor/director from FTII and the Publisher of GR8 Magazine and Anu Ranjan, the Founder of The Indian Television Academy. Anuskha has a younger sister Akansha Ranjan Kapoor who has done her schooling from Jamnabai Narsee School as well and is Alia Bhatt's best friend. Anushka did her schooling from Jamnabai Narsee School and her 2 years acting diploma from Whistling Woods and 1 year acting performing arts course at The ITA School of Performing Arts, followed by a 3 months course from Anupam Kher School of acting, followed by theater with Nadira Babbar. She has trained in Kathak dance under the supervision of Guruji Viru Krishna.
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By the age of 14, she was a noticed freestyle MC known as "Indian Princess" (IP) or "Raja Kumari". She is a trained dancer in Kuchipudi, Kathak, and Bharatanatyam and had given many live performances in Ravindra Bharathi in Hyderabad. During her artist career, she has contributed to several philanthropic activities through her performances including the creation of a hospital in Bangalore and a meditation hall in South India for the Vegesna Foundation, a school for children with physical disabilities. As a result, Kumari has been recognized as a benefactor by the Foundation for Indic Philosophy and Culture (Indic Foundation) and has been honored with the Kohinoor Award for excellence in the Classical Arts by the Governor of Tamil Nadu.
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One day, in a local competition, the footfall of Radhika and her team dips, while it aggressively increases for a team owned by Rægo, a dance trainer who practices Bollywood. This insult, along with the increasing poverty, the fear of getting his dance academy closed, makes Sachin Mane change his decision and send his daughter to Dancer No. 1, although he orders her daughter Radhika to strictly perform Kathak and other Indian classical dance forms and stay away from Bollywood and showbiz. Tara and her entire family except her parents accompany Radhika to Mumbai, where they meet Arjun, a dancer and part-time mechanic who is also a participant. Arjun is seen helping Tara and her family in various occasions.
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Her name figures amongst the foremost exponents in the world of Indian classical dance. She is Padmashree Ranjana Gauhar, a world-renowned Odissi dancer and a multidimensional personality whose interests also include theatre, painting and choreography. Ranjana Gauhar has been honoured with the prestigious Padmashree Award in 2003 for her longstanding services in the field of Odissi Dance. She is also the recipient of the National Sangeet Natak Akademi Award (2007), Senior Fellowship for her research in the temple tradition of Odissi dance by the Ministry of Culture, Government of India, the Indira Gandhi Priyadarshini Award and Mahari Award in 2007 and many other accolades. Ranjana’s performances bear the signature of a distinctive style because of her extensive training in Chhau, Kathak and Manipuri as well.
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He co- established the impresario institution Anamika Kala Sangam in 1967. Subsequently, along with his wife Chetana Jalan, the well-known Kathak dancer and stage actress, and actor Kulbhushan Kharbanda, he left Anamika in 1971 and established Padatik (literally foot-soldier) theatre group in 1972, of which he was the founding director. This gave him a chance to venture into bolder themes, like those in Vijay Tendukar's plays like Gidhade (The Vultures) (1973) and Sakharam Binder (1979), and Mahashweta Devi's Hazar Chaurasi Ki Ma (Mother of 1084) (1978), with his new venture he stepped beyond Indianism, modernism, or experimentalism. Padatik in the coming years, started inviting outside directors like, Ranjit Kapoor, Satyadev Dubey, Bennevitz, Rajinder Nath, and Rodney Marriot, and soon the group was performing three productions in a year.
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Already known for her abhinaya anga, she has to her credit several notable dance ballets production, such as Venkateshwara Vilasam, Kathak through the Ages, Art and Life, Surdas, Barsha Mangal, Tarana, Ramayana Darshanam, Hoysala Vaibhava, The Vision of Amir Khusrau, Tulsi Ke Ram, and Urubhanga by Bhasa, besides Krishnadevaraya, Vijayanagara Vaibhava, Masti Venkatesha Iyengar's Kaamana Billu and works of noted Kannada writer Kuvempu. She became the chairperson of Karnataka Sangeet Nritya Academy, state academy for music and dance, and during her tenure from 1987 to 1990, she started National Performing Arts Festivals at heritage monuments of the state, like Somanathapura, Pattadakal and Halebidu. She was awarded the Sangeet Natak Akademi Award for Creative dance/Choreography, given by the Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama in 1989.
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An Agreement on Cooperation in the spheres of culture, was recently signed during the visit of PM Modi in July 2015 to replace the agreement on Culture, arts, education, science, mass-media and sports of 18 March 1992. In general, there is appreciation of Indian culture. The Centre for Indian Studies set up in Osh State University in 1997 has been useful in providing an exposure to Indian culture and civilization to academicians and intelligentsia in this country. The chair has been discontinued since 2010 unrest in Osh. Two workshops of Kathak dance were conducted one each in Bishkek (January 2014) and Issyk-kul (July 2014). A 10-member Bhangra Dance group “Bhola Panchi”, sponsored by ICCR, performed in Bishkek on 18 October and in Kara-Balta on 19 October 2014.
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Jatin Goswami was born on 2 August 1933 to Dharanidhar Dev Goswami and Chandraprova Devi at Adhar Sattra, a village near Dergaon in Golaghat district, in the Northeast Indian state of Assam. His early training in Sattriya was under his father but later, he trained under Gopiram Bayan and Babula Bayan, two known Sattriya masters, as well as Bishnuprasad Rabha, Dutta Muktiyar and Raseswar Saikia Barbayan at different points of time. In 1953, he established his own dance academy, Alok Shilpi Sangha, at his native place, but continued his dance training, learning Kathak from Ganesh Hiralal and Manipuri dance from Atomba Singh. Turning his focus back to Sattriya, he founded Pragjyoti Kala Parishad, a cultural organization for promoting dance, in 1962, along with Kalaguru Bishnu Prasad Rabha and Roxeswar Saikia Barbayan.
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The masters will then make an on-the-spot decision as to whether the dancer demonstrated enough ability. If the dancer impressed the masters with his/her dancing abilities, masters will award a Hat called Taqdeer Ki Topi (Hat of Destiny), moving them instantly one step forward in the competition. The second stage of the selection process, the Mega Auditions, is a several-day- long process in which the 100 hopefuls are tested for overall well-rounded dance, stamina, and their ability to perform under pressure. The dancers are put through a battery of rounds which test their ability to pick up various dance styles (typically some of the more well-represented genres that will later be prominent in the competition phase, such as Hip hop, Bollywood, Jazz, Bharat Natyam, Kathak, Mohiniyattam, Odissi and Contemporary).
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One of the more significant contributions of Singh is her activities under the aegis of SBKK which runs the College of Music and Dance, offering courses in Hindustani classical music in Vocals and instruments, Light music vocals and dance disciplines such as Kathak, Bharatnatyam, Odissi, Mayurbhanj Chhau, Ballet and Contemporary Dance. Several renowned artists and art teachers like Ravi Shankar, Birju Maharaj, Amjad Ali Khan, Shambhu Maharaj and Shovana Narayan are associated with the organization. She is the organizer of Summer Ballet Festival, an annual dance festival, conducted in New Delhi. She has also instituted an annual award, Sumitra Charat Ram Award for Lifetime Achievement, to honour excellence in Art, Birju Maharaj receiving the inaugural award in 2011 Singh is an accomplished photographer, covering many of the functions of SBKK personally.
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Indian nautch girls from Kashmir in the 1870s A nautch girl is a dancer who makes a living by entertaining men, women and children of all social classes, regions, castes and religions on various occasions including parties, weddings, christenings, religious ceremonies, and other social events. Their dances were simplified combination of kathak, dasi attam and folk dance. Wandering troops of nautch girls often traveled to different places, performed impromptu roadside dance performances or just turned up uninvited to perform at the homes of their richer patrons who were customarily obliged to pay them. They performed everywhere, in the homes of their patrons, public places or on stage, also in Mughal courts, palaces of nawabs, mahals (castles) of rajas, bungalows of British Raj officers, homes of nobles, havelis (mansions) of zamindars (landowners) and many other places.
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The Journal of the Music Academy, Madras - Volume 62 -1991 - Page 157India's Kathak Dance Past, Present, Future: - Page 28 Also, at the turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite having been blinded at age 12. His books on music, as well as the Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system. Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music.
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Arab ki sarai.. Qutub ki sarai... Parsi temple ki sarai..Yogi ki sarai..Sheikh ki sarai..Badli-ki- Sarai..Katwaria Sarai etc.Phool waalon ki Sair There used to be all-pervading ambience of fun and merriment what with qawwalis, and kathak being performed on the streets. Fire dancers also performed on the streets during the procession and added a mystic allure to the proceedings. As it passed through streets of Mehrauli, where the Mughal courts used to shift after the rainy season, Mughal Emperor, Akbar Shah II, used to enjoy the procession from the balcony of Zafar Mahal in Mehrauli, and watched it move towards the shrine of Sufi Saint Qutbuddin Kaki and later to Yogmaya TempleAkabr Shah The Delhi that no-one knows, by Ronald Vivian Smith.
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Early Training in Dance: He learned Bharata Natyam under Guru Chandrashekhar Pillai. He also learned several compositions from Guru Mahalingam Pillai and Smt Maylapur Gauri Amma. He learned Kathakali from Guru Karunakar Panikar and Kathak from Guru Ratikant Arya and Guru Sunder Prasad. Choreography: of Indian Dance-Ballets: Between 1942 and 1983 he choreographed over twenty ballets. These include- Dawn of a New Era (1942), Sita Haran (1943), Sundopsunda(1944), By 1951 (1948), Bharat Ki Kahani (1949), Rhythm of Culture (1950), Rajput Episode-Raja Rani ki Kahani (1956), Dekh Teri Bambai (1958), Discovery of India(1964), Krishna Leela(1965) Choreography for Children's Ballets: Manitaichi Fajity(1947), billi Mausi ki Fajety (1948), Snow White and the Seven Dwarfs (1958), Panchatantra (1970), Apna Hath Jagannath (1980), Durga Zali Gauri (1983) Choreography for Films: Between 1950 and 1968 he choreographed dance sequences for several Hindi Films.
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Memorable events include week long solo performances at ARTPARK in Lewiston NY for an outdoor fabric installation in the woods by Elaine Crivelli, several performances in East and West Berlin with Group Motion Dance Theater Co. directed by Manfred and Brigitta Fischbeck and a collaboration with choreograper/dancer Benoit LaChambre at the Canada Dance Festival in Ottawa. He continued his tabla development with performances of North and South Indian classical music with L'Armand and with North Indian bansuri flutist, Paul John. In 1991, Lenny became a student of tabla maestro and composer, Zakir Hussain in California that permanently cemented his commitment exclusively to tabla as his life's work moving forward. He subsequently designed, coordinated and performed in two intensive residencies led by Zakir and kathak dancer/choreographer, Antonia Minnecola, that involved 20 culturally diverse traditional hand drummers and dancers.
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Jashn-e-Adab (Sahityotsav) is a society for poetry and literature which has been established in 2012 to promote and preserve the literary heritage of Hindi and Urdu language through ‘Jashn-e-Adab poetry festival’. The aim of these festivals is to celebrate and cherish the indigenous cultural heritage through Mushairas- poetry symposiums, Ghazal singing, Daastangoi-conventional way of story telling, Plays, Bait-bazi, Kathak dance, Qwwali etc. These festivals have lined up acclaimed writers, poets, theater artists, singers, scholars, journalists and critics from across the globe and generations, and has provided platform to fresh litterateurs along with luminaries. Jashn-e- Adab (Sahityotsav) has tried to raise awareness towards the contemporary situation of art and literature in society and also on its impact through debates, seminars, paper presentations and panel discussions with dignitaries of different fields.
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2007 It is one of eight forms of dance recognized by the Sangeet Natak Akademi (the others being Kathak, Kuchipudi, Odissi, Kathakali, Mohiniyattam, Manipuri and Sattriya) and it expresses South Indian religious themes and spiritual ideas, particularly of Shaivism, Vaishnavism and Shaktism.T Balasaraswati (1976), Bharata Natyam, NCPA Quarterly Journal, Volume 4, Issue 4, pages 1-8 Description of Bharatanatyam by 2nd century CE is noted in the ancient Tamil epic Silappatikaram, while temple sculptures of 6th to 9th century CE suggest it was a well refined performance art by the mid-1st millennium CE. Bharatanatyam is the oldest classical dance tradition in India. The dance form was prevalent in ancient Tamil Nadu, and several books have coded them such as Natya Shastra. Natya Shastra is just a codification by an unknown author of the forms of dance existing in Tamil Nadu.
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Namrrta is an empanelled artist of Indian Council for Cultural Relations (ICCR), empanelled artist of Ministry of Culture (India), and an empanelled artist of Indian National Television Doordarshan, Ministry of Information and Broadcasting (India). She has performed in prestigious festivals around the globe. She has performed for the International Dance festival Ascona (Switzerland), The Ravi Shankar Centre (94th Birth Anniversary) New Delhi, Namrrta performing on Sufi PoetriesModhera dance festival Gujarat, National Divali Manifestatie South-America, CulturAll Switzerland, Sufiyana Kathak with Ustad Shafquat Ali Khan, 550 years celebration of Basel University Switzerland, Maha Kumbh Haridwar, Uttarayani Mohotsava Bageshwar, a theatrical dance ballet Geet-Govind for Indian National Television, World Dance Day Suriname, Musica Dei Popoli Italy, Soulful Sufi Rome and many more noteworthy festivals in Austria, The Netherlands, Germany, France, Italy, Brazil, Guyana & Romania. Namrrta is also an empanelled performer cum teacher New Delhi for the Indian Cultural Centres Abroad.
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Salabhanjika, Belur, Karnataka, 12th century Like many other poses used in traditional Indian dance, including Odissi, Bharata Natyam and Kathak, Tribhangi or Tribhanga can be found in Indian sculpture as well. Traditionally the Yakshi is shown with her hand touching a tree branch, and a sinuous pose, tribhanga pose, as is Salabhanjika, whose examples dating to the 12th century can be found in the Hoysala temples of Belur, in south-central Karnataka and the Khajuraho temples built around 9th century CE, where Vishnu is depicted at various places in this position which is commonly reserved for Krishna, playing the flute. The Agamic texts suggest that Shiva sculptures are to be made in tribhanga posture facing the east as seen in temple dating 8th-12th centuries. The central deity at the Simhachalam temple near Visakhapatnam, the lion-man incarnation of Lord Mahavishnu is in the tribhanga posture.
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Her father was Dr. Jung Bahadur Singh, OBE, a politician, doctor, and philanthropist involved in various groundbreaking institutions and movements in Guyana around a critical time before the nation gained independence. J. B. Singh was a founding member and president of the British Guiana East Indian Association and with his wife, Rajkumari's mother Alice Bhagwandai Singh, was also pivotal in the evolution of Indo-Caribbean theatre, as they were co- founders of the British Guiana Dramatic Society, which produced plays with an Indo-Caribbean cast and crew. Over in Suriname, Rajkumari's maternal grandfather, Seetal Prashad was a renowned champion of Indian rights. Rajkumari, crippled by polio from the age of six, had eight children, and continuing the family legacy of arts and activism, her son, Karna Singh, is an author and cultural historian, and her son Gora Singh, was the Caribbean's most highly acclaimed kathak dance exponent and founder of The Rajkumari Cultural Center, a New York-based non-profit cultural organization.
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Hon'ble Chief Minister of Assam, along with Ustad Amjad Ali Khan (Right), presenting the Bishnu Rabha Award 2016 to Veteran Artist Girish Chandra Borah The relevance of the ideals of Kalaguru Bishnu Prasad Rabha, the musical and artistic genius who transcended man-made barriers to unite diverse communities was remembered on the occasion of his death anniversary by Assam. The Bishnu Rabha Award for 2016 were also presented on Monday to well known artist Girish Chandra Bora and prominent Kathak exponent Bipul Das at a function organised at Rabindra Bhawan in Guwahati by the Directorate of Cultural Affairs. The award carrying Rs 100,000 each, a citation and other gifts was presented to the distinguished personalities by Chief Minister Sarbananda Sonowal. Acknowledging the role of the cultural brigade in nation building, Sonowal announced that in the coming days the government would come up with a special policy for the welfare of the artistes.
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Sharma has given many dance performances and has conceptualized and choreographed at least 25 dance productions. She has given a cultural presentation representing India at the ASEAN meeting in 2014. She performed on Indian Navy ship Sankalp on a good will visit to Australia & Indonesia, and performed at the Miss India Indonesia pageant 2015. – News with photo about her appointed as the chief choreographer at festival weave of friendship organized by government of India with joint venture with government of Indonesia to celebrate the year of 100th years of Indian film Industry – News on government of India portal of ICCR Ministry of external affairs india news letter in which news on her when Ms. Pratishtha Sharma performed with her students for charity function by International women foundation in front of president of Indonesia Mr.Jokowi as chief Guest Her most popular choreography, "Krishna the perfection", a musical story with kathak dance, was staged in Chandigarh and more than 150 times worldwide.
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The founding of the city of Hyderabad can be attributed to one of the wives of Muhammad Quli Qutb Shah, Queen Bhagyamati, who was a dancer in the courts of the Golkonda kings, with whom the founder of Hyderabad had named the city in her honour, Bhagyanagar, and later Hyderabad. Tales of the legendary dancers Taramati, and Premamati, are also an insight into the rich culture under the Qutb Shahi era. Mah Laqa Bhai, a prominent Hyderabadi Muslim poet of the 18th century, patronized the Kathak dance form in the courts of the Nizam, which is now being lost amongst Hyderabadi Muslims. The legendary Taramati used to sing for travelers at the left Apart from these, a traditional Hyderabadi Muslim wedding is identified by various local traditional elements, such as the traditional garb, Sherwani for the groom and Khada Dupatta along with jewelry for the bride, as well as Hyderabadi cuisine served at the ceremony.
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Lenny had founded and coordinated several other ensembles along the way including the Shamanistics with Michael Daugherty and Ric Iannacone, and Splinter Group, a percussion/dance ensemble that included Rennie Harris, Roko Kawai, Grace Zarnoch-Green, Toshi Makihara, Joe Ruscitto and Branavan Ganesan. He has performed and/or recorded throughout the Americas, as well as abroad, with such music artists including Zakir Hussain, Kenny Endo, Simon Shaheen, Yacouba Sissoko; LL Cool J, Kenny Muhammad, I Dewa Puta Berata; Butch Morris, Yair Dalal, Kyaw Kyaw Naing, Elio Villafranca, Papo Vazquez, Adam Rudolph and poet Ursula Rucker. He has also collaborated with many choreographers including Cynthia Lee, Viji Rao, Helmut Gottschild, Christine Cox, Nina Martin, Myra Bazell, Eko Supriyanto, Cheng- Chieh Yu, Sen Hea Ha, Ananya Chatterjea, Kim Arrow, and Pallabi Chakrobarty. He was a guest artist at Swarthmore College Department of Music and Dance from 1998 to 2012 teaching tabla, collaborating with their gamelan orchestra and taiko ensemble, and the kathak dance classes.
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He was the first to perform modernist Mohan Rakesh, starting with his magnum opus Ashadh Ka Ek Din (One Day in Ashad) in 1960 and in the coming years bridged the gap between Hindi theatre and Bengali theatre, by mounting Hindi productions of works by Bengali playwrights, like Badal Sircar's Evam Indrajit (1968) and Pagla Ghora (1971), which in turn introduced Sircar to rest of the country. He co-founded theatre group Anamika in 1955 with Pratibha Aggarwal, a Hindi writer and a great granddaughter of Bhartendu Harishchandra, which played a pioneering role in the revival of Hindi theatre., and remained with it till 1972, and during this period it created a large audience for Hindi theatre in Bengali speaking Kolkata. Subsequently along with his wife Chetana Jalan, the well-known Kathak dancer and stage actress, and actor Kulbhushan Kharbanda, he left Anamika in 1971 and established Padatik (literally foot- soldier) theatre group in 1972, of which he was the founding director. This gave him a chance to venture into bolder themes, like those in Vijay Tendukar's plays like Gidhade (The Vultures) (1973) and Sakharam Binder (1979), and Mahashweta Devi's Hazar Chaurasi Ki Ma (Mother of 1084) (1978), with his new venture he stepped beyond Indianism, modernism, or experimentalism.
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