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FESTIVAL DANCERSAbhinaya Dance Company of San JoseGENRE: Bharatanatyam ARTISTIC DIRECTOR: Mythili Kumar First Appearance in SF EDF: 2003 Website: http://www.abhinaya.org Abhinaya
Dance Company's Artistic Director, Mythili Kumar, is the recipient
of the Festival's 2010 Malonga Casquelourd Lifetime Achievement Award.
Mythili founded the company in San Jose in 1980 as a traditional Indian dance
school. Since receiving non-profit status in 1990, the company received an
award from the Rockefeller Foundation. Abhinaya's ensemble members have studied
with Mythili Kumar for over eight years and have all performed their solo
arangetrams. 2011 PERFORMANCE
2012 ABHINAYA DANCERS: Yatrika Ajaya, Anjana Dasu,
Nilufer Jain, Eesha Khare, Malavika Kumar, Rasika Kumar, Rekha Nagarajan, Sindhu
Natarajan, Anu Ranganathan 2011 ABHINAYA SOUTH INDIAN MUSICIANS: Lakshmi Balasubramanian (violin), Mythili Kumar (nattuvangam or cymbals), Ashwin Kumar (flute), Ganesh Ramnarayanan (mridangam) 2011 SAN JOSE TAIKO MUSICIANS: Rina Chang, Yurika Chiba, Alex Hudson, Franco Imperial, Allison Ishida, Stewart Kume, Trish Kume, Meg Suzuki, Adam Weiner In 1993, two of San Jose’s oldest cultural groups, Abhinaya Dance Company and San Jose Taiko, collaborated in performance. Today the next generation—choreographers Franco Imperial and Rasika Kumar—present a new collaboration: Synergy. Dynamic Japanese taiko drummers awaken South Indian bharatanatyam dancers, and a playful exploration begins . . . The piece underscores the unique qualities of each form, and it also accentuates what is shared: an underlying spirituality and ancient connection to religion; a dignified and commanding stage presence; commitment to rhythm and movement; and an energy that extends outward, through drumsticks and fingertips. Bharatanatyam dance originated in South India’s ancient temples, as an exquisite blend of abstract dance (nritta) and graceful expression (nritya). The dancers’ costumes are modeled after temple sculptures and festive bridal attire, with jewelry, flowers, gold brocade, and elaborate henna designs. In North America, taiko names both the Japanese drum and the art of kumidaiko ensemble drumming. Taiko was integral to Japanese classical and folk culture and religion. It only recently emerged as an ensemble art form of physical endurance and singleness of mind, body, and spirit. The art form of taiko continually integrates new rhythms, and San Jose Taiko is influenced by different meters present in various world music traditions. Abhinaya dancers move to the intricate rhythmic cycles and changing meters of South Indian Carnatic music. To collaborate, Franco Imperial and Rasika Kumar created new rhythmic sequences within bharatanatyam signatures. The taiko drummers play hand-held uchiwa-daiko (fan drums), the mid-sized nagado-daiko drum, and the larger chu-daiko drum with bachi sticks. A mridangam (Indian drum) mirrors the dancers’ intricate footwork, along with cymbals, flute, and ankle bells. Synergy was created in 2010. 2010 PERFORMANCEOm-Let us meditate
upon Prithvi Devi –Mother Earth
This verse begins Prithvi Sooktam, a hymn from the
Atharvana Veda (ca 4000 BC) that pays homage to Earth—to its magnificence and
abundance, and to all creatures and races of humankind. The dance opens with a
bow to Mother Earth. Then, through bharatanatyam storytelling, the dancers
bring to life these ancient lines: Oh Mother Earth On
thee are the oceans and rivers Rasika Kumar created the choreography for Prithvi
Sooktam. Mythili
Kumar conceived and researched the piece, selecting verses and rhythmic
phrases. Acclaimed vocalist Asha Ramesh composed the music. 2008 PERFORMANCE
In Indian classical dance, the bharatanatyam style can be used to depict any story or episode in the world. The theme in this dance is conveyed by its title—Shakti - The Powerful Goddess. The Goddess Shakti represents the ultimate feminine power inherent in all creation. She is Devi, The Great Goddess, protector of the universe, curer of disease, and vanquisher of evil. As Jagan-Maata, Universal Mother, Shakti is the cosmic force, dynamic and ferocious as she destroys demonic forces that threaten world equilibrium, and alternatively gentle and radiant, the gracious donor of wealth, fortune, and success. Shakti was once worshipped throughout the ancient world, and her presence predates that of the patriarchal Hindu Trinity—Brahma - creator, Vishnu-preserver, and Shiva - destroyer—by thousands of years. Today, her following is widespread only in India, where it remains a vibrant, living tradition. Shakti's presence empowers and stirs the hearts of her devotees with adoration and devotion, and her attributes are an inspiration for earthly women. Shakti - The Powerful Goddess was choreographed for today's stage by Mythili Kumar and her daughter Rasika Kumar, with input from her second daughter, Malavika Kumar. The dance begins as Shakti emerges from the primordial sacrificial fire. Then the Goddess manifests several Shaktis like herself, and vanquishes the demons around her. Alternately fierce and graceful, the Goddess inspires and energizes all her devotees. The dancers wear traditional dance costumes of silk with gold-bordered saris stitched in a pant or skirt style. This costume is generic festival attire in South India with jewelry adorning the head, dangling earrings, nose ornaments, waist belt, necklaces, flowers in the hair, bangles, and ankle bells. Characters are portrayed with hand gestures, body movements and facial expressions. A sash is added to the torso to create a ‘manly look’ and a dark colored sash—black or red—denote an evil character or demon. Mythili Kumar and Malavika Kumar will take turns performing nattuvangam—conducting the musicians with cymbals. Abhinaya is pleased to perform with three guest international musicians from India—Sudev Warrier, vocals; K.S. Sudhaman, mridangam (South Indian drum); and A.P. Krishna Prasad, flute. 2007 PERFORMANCE
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