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FESTIVAL DANCERS

KALANJALI: DANCES OF INDIA

NATIONAL/ETHNIC IDENTITY: Indian
ARTISTIC DIRECTORS: Katherine & K.P. Kunhiraman
First Appearance in SF EDF: 1978

All classical dance forms in India have common roots dating back to the Vedic societies of the 2nd century BC. The Vedas are the primary scriptures of Hinduism and contain hymns, incantations, and expressive rituals from ancient India. There are four main Vedas relating to different aspects of life. Many believe however, that there was a fifth Veda pertaining specifically to dance, music and drama. It is believed that in the 2nd century AD, the sage Bharata Muni was instructed by the god Brahma to record this Veda into the text known as the Natyashastra. This highly detailed treatise is essentially the root and basis of all Indian classical dance and drama. It codified many aspects of the dance addressing every detail, including: hand gestures, arm positions, body stances, facial expressions and inner sentiment. Over centuries, distinct dance forms developed as each style became shaped by the geography, history and social climate of its particular region.

The classical dance form of South India, Bharatanatyam has roots extending back to the fifth century as evidenced by ancient sculptures found on temple walls. Considered a divine art, the dance was used as a sacred offering. Through the dance, the dancer’s identity is dissolved in rhythm and music and becomes an instrument of the soul. Bharatanatyam fell into disrepute during the British rule in India, nearly becoming extinct. Resulting from the efforts of cultural reformers, the dance experienced a renaissance, and is now performed and enjoyed by Indians all over the world.

Since 1975, Kalanjali has sought to bring the best of India’s performance tradition before a wider range of audiences. Company members are disciples of the Kunhiramans, the directors of Kalanjali, who have a long history associated with the acclaimed Kalakshetra Institute of Fine Arts in Chennai (Madras), India. Kalanjali has received numerous local and state awards for their tireless efforts and pioneering ventures.

2005 PERFORMANCE

TITLE OF PIECE: Tillana / Raasleela
CHOREOGRAPHY: Katherine & K.P. Kunhiraman
DANCERS: Antara Aiama, Kali Futnani, Archana Ganapathi, Dipika Gopal, Minal Mehta, Meena Nair, Priya Pandurangi, Smitha Radhakrishnan, Rani Ramrattan, Shanti Ramrattan, Vineela Ravva, Divya Satia, Priya Shreedharan, Trishna Subas, Yesodha

Bharatanatyam is a very precise art. The choreography is made up of mathematically intricate footwork and geometrically precise poses flowing through the space. The mood of the songs and the poetry of the lyrics manifest through these technical elements – the use of abhinaya, an elaborate system of mime, and mudra, codified hand gestures.

Kalanjali presents a Tillana which is one of Bharatanatyam's chief repertoire. Traditionally a solo, this piece is transformed into a group dance which portrays the god Krishna as the divine spirit finding joy in shared love with his partner, Radha. In the company of her cow herder friends, they dance the shady lanes of Brindavan. With bells on his ankles, Krishna dances, accompanying these gopis on song and drum.

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