Folk music, dance and theatre represent the traditions and cultural richness of an area. It sheds light on rural life, which is closely associated with inherent customs. Uttrakhand has a vibrant culture, and the diverse, authentic folk dance forms reflect the same. The fascinating mythical dancing damsels that dwell on the snow-clad peaks of the Himalayas are the inspiration of most folk dances.^​1​ These folk dances mainly performed in groups while worshipping or celebrating. These folk dances are influenced by the public’s divine connection with “Natraja”, Lord Shiva, and the relationship of “Pandava” in Mahabharata to the Garhwali Himalaya. Dancing and theatre run in the veins of the Garhwali, the locals of the Garhwali region celebrate their joys and sorrows through dance.^​1​ The five most popular dances of the Garhwali locals and their stories behind them are below.

Pandav Nritya
The Pandava Nritya describes the tale of the five brothers in the Hindu mythology of Mahabharata. This traditional cultural dance is a 10-12 day celebration that depicts the various stages of their lives.^​2​ It is believed that the energies of the five Pandavas enter the body of performing artists during the stage performance, which ends with a grand feast organized for the entire village. It is a simple narration of Mahabharata’s story and is enacted during the occasion of Diwali in the popular districts of Chamoli and Pauli Garhwal.^​2​

Bhotia Dance
The Bhotiya tribe of the Gharhawali region, just as their name is well known for the dance of the dead.^​1​ The folk dance performed by the locals is closely linked to the death rituals. A popular belief amongst these locals is that souls of the dead live in cattle’s body even after the human body dies. By performing this dance, they believe that these souls of the dead would be liberated from the animal’s body, and these elders would attain peace.^​2​

Barada Nati
The folk dance of Jaunsar Bhawar area of Chakrata Tehil in Uttrakhand is performed on the eve of religious festival and celebrations.^​2​ Both men and women participate and bring colours to this celebration with their fascinating colourful traditional costumes.

Bajuband
This is folk dance depicting love and sacrifice between shepherds and their flock. It is a love dialogue between a man and a woman sung and performed by the locals in folklore. It represents the love and passion that a Shepard has and to what extent does he go to protect his flock from intruders.^​2​

Basanti
This folk dance is performed during the spring season when flowers bloom and new life is glowing in the int valleys of the hills of the Garhwal region. It sets the tone for the harvest season and brings new joys of celebration to the local community.

Khuded
These folk songs depict the suffering of a woman due to separating from her husband. The woman curses the circumstances in which she is separated. She is filled with sorrow and passion, which shows her love for her husband. ‘Laman’ and ‘Pawada’ are a few folk songs sung during this time, making us feel the agony and misery of this separation.^​1​

Many theories surround these folk dances say that the souls of the young unmarried girls who died with no funeral rites or the daughters of Ravana who offered them to Lord Shiva as his handmaidens.

Folklore of Uttarakhand represent the love, passion, agony, sacrifice, misery, and compassion of these locals and help us relate to them to share their feelings.

Kuchipudi is one of the major Indian classical dance folk forms performed in India. It derives its name from its village of origin, Kuchelapuram and is one of the favourite dance forms of Lord Krishna.^​1​ It is considered to be a form of dance-drama that is well known under the generic name of Yakshagaana. Similar to other dance forms, Kuchipudi has its roots that originated from Sanskrit Natya Shastra, the foundations of performing arts.

In the 17th century, Yakshagana created by Siddhendra Yogi, a talented Vaishnava poet whose inspiration for the art form is said to have come from Lord Krishna in a dream.^​2​ He had a dream in which Lord Krishna came and asked him to compose a dance-drama based on the myth of the bringing of paarijaata flower for Sathyabhaama, the most beloved queen of Krishna. It led to the creation of Bhaamaakalaapam, which Yogi composed and is still practised in different parts of the world.^​2​ The disciples of Siddhendra Yogi have written several plays, which are performed and celebrated to date.

Kuchipudi is known for its fast rhythms and fluid movements, creating a blend of delicacy and strength. In this dance form, a male dancer usually wears an Agnivastra, which included a dhoti, whereas a female dance wears a sari. Modern Kuchipudi acquired its pres­ent form in the 20th century. Several people were responsible for moving it from the villages to the performance stage. One of the most notable was guru Lakshminarayan Shastry.

Traditionally, all males performed Kuchipudi until a colonial-era when Lakshminarayana revolutionized the concepts of this art form. He introduced females to the art form, along with the idea of solo-dancing.^​3​ After him, many other visionaries have moulded it into its pres­ent shape.

In today time, the concepts laid out by Lakshminarayana have cemented their place in our minds for eternity. The Kuchipudi performance is accompanied by a live orchestra comprising of singing and percussions. The hand gestures, also called mudras and facial expressions, are stylized to convey a wide range of complex sentiments and feelings.^​2​ The whole body is responsible for communicating the emotions which arise from the song.

Kuchipudi has for sure occupied a special place among other Indian classical dance forms by being a country-wide celebrated dance folk form and is recognized worldwide in many international traditional festivals.

Part of an Independent Research Project by: Sezal Chugh / Guide: Prof. Manohar Khushalani

Irrespective of whether you have been to Rajasthan, you would have definitely seen or heard about the desert state’s iconic Kalbeliya dance. Visuals of Rajasthan women twirling at a dizzying pace, their carefully crafted clothes and jewellery, are engraved in our collective memory. The dance can be seen everywhere at festivals, in folk dance events, on tv.

Kalbeliya, a Rajasthani tribe commonly known as the saperas, trace their ancestry back to a small district of Kanlipar, Rajasthan.^​1​ These scheduled tribes lead a nomadic life and travel from places to places frequently. Their traditional occupation is catching snakes and trading snake venom; however, they are seen as street performers at many cultural festivals worldwide. Kalbeliya men carried cobras in cane baskets from door to door in villages while their women sang and danced for the masses. Dance is an integral part of this mesmerizing vagabond gypsy tribe.

They have been a fringe group in our ever-growing society and continue to live outside villages in makeshift camp areas called deras. Over the generations, they have acquired a keen sense of understanding of the local flora and fauna. They are well known for their herbal remedies for various ailments, which also acts as an alternate income source. Repercussions of the Wildlife Act of 1972 pushed these Kalbelias out of their forests’ comfort zone and into the fast-moving lives of the cities where they are left to fend for themselves. This community has developed a rich cultural heritage, leading to widespread recognition, which draws visitors nationally and internationally. The Kalbelia folk songs and dances of Rajasthan were declared a part of UNESCO’s Intangible Heritage List in 2010.

This traditional dance form performed and enjoyed by the Kalbeliyan community of Rajasthani snake charmers encompasses swirling and graceful movements that make this dance a treat to behold.^​2​ Their dances and songs are a matter of pride and a marker of belonging for the Kalbelias, which reflect the imaginative adaptation of this group of snake charmers to ever-changing socioeconomic circumstances in their Rajasthani society.^​2​ Women wear bright and black flowing skirts, shimmering jewellery dancing to the beats of traditional musical instruments played by men. The classic musical instruments used during these festivities are the pungi, a woodwind instrument traditionally played to capture snakes, the dufli, the khanjari, a percussion instrument, and the morchang khuralio and the dholak to create the rhythm on which the dancers perform. These dancers try to replicate a serpent’s movements while performing this joyous and vigorous folk art form. They wear an Angrakhi on the top and Lehengha on the bottom, covering their head with an Odhani.^​3​ They are tattooed in traditional designs and covered in clothes with small mirrors and shiny threads which represent them. These clothes are filled with hand-embroidered bright red and black hues to express the feeling of celebration and ignite a sense of belongingness that soothe the eyes and atmosphere during a festival.^​3​

Kalbelia folk songs are based on their folklore and mythology with memorable characters and dances from their ancestry and culture. They have a reputation for composing lyrics spontaneously and improvising songs during performances.^​3​ These songs, dances and even clothes are part of a long-standing tradition handed down from generation to generation. They neither come with texts nor training manuals but simply passed through word of mouth using these mythological stories.^​3​

An academy has been set up in Copenhagen, Denmark by “Gulabo Sapera’s Music and Dance School” for this globally acknowledged art form. With the ever-rising popularity of folk arts, this dance form has only improvised over the years. It has become a freedom of expression for these women who are pushed into a life of poverty and rules which govern their culture and control their ideas. This tribe enlightens us about our traditions and brings out the true essence of a gypsy lifestyle and identity. Presently, the largest population of Kalbelias resides in the Pali district, followed by Ajmer, Chittorgarh and Udaipur. The Kalbelias are very happy-go-lucky people and have a genuinely positive attitude towards life. They are satisfied with what they have and live together in peace and harmony.^​3​

_____________________________
Independent Project by Sezal Chug
Guide: Prof. Manohar Khushalani
________________________________

9th March 2019. The Glittering night of Natsamrat Theatre Awards. This was the most memorable moment of that year for StageBuzz Ed, Manohar Khushalani To be Awarded The 2019 Natsamrat Best Theatre Critic Award. It was indeed a fulfilling moment and an acknowledgement of his decades of consistent and persistent work as a critic for Pioneer (Column: Foot Lights), Mid Day (Culture Cocktail) and of course StageBuzz (Editor). The Award Ceremony was Organised by Shri Shyam Kumar, who is the driving force of the event . Well Known thespian Jaidev Taneja was the Chief Guest

Winners of the 11th Natsamrat Theatre Awards:
Best Writer – Danish Iqbal
Best Director – Kichenassamy Madavane
Best Actor – Mohit Tripathi
Best Actress – Mona Chawla
Best Back-stage (Lights) – Himanshu B. Joshi
Best Critic – Manohar Khushalani
Lifetime Achievement – Feisal Alkazi
Theatre Promoter – Lalit Jaiswal

During that festival there was never a dull day in Delhi !
16th Natsamrat Natya Utsav included
10 plays in 5 days | 6 – 10 March | All plays in Hindi
6:30pm and 8pm everyday

After Lockdown Pierrot’s Troupe’s is now returning to ‘Stage’ with its all time popular COMEDY – GHALIB IN NEW DELHI after Lockdown The troupe is also premiering a new play – SAHIR KA KHAYAL AAYA. The latter coincides with Sahir Ludhianvi’s 100th Birth Anniversary on March 8, 2021

The two plays are being staged on MARCH 7, 2021, Sunday, at the LTG Auditorium, Copernicus Marg, New Delhi.

GHALIB IN NEW DELHI – After Lockdown is arguably India’s Longest Running Comedy. Post Lockdown, the play has Mirza Ghalib dealing with newer issues; from Corona to Rihanna to the Kisaan Aandolan.

SAHIR KA KHAYAL AAYA dramatizes the ‘Best of the poet’s Best’, Parchhaiyan, his anti war poem, the longest anti war poem in the last 100 years.

DATE, TIME, PLAY, VENUE

March 7, 2021, Sunday

GHALIB IN NEW DELHI – After Lockdown — 4 pm

(Hindi)

Script & Direction – Dr M Sayeed Alam

SAHIR KA KHAYAL AAYA – 7 PM

(Urdu – the PREMIER show )

Script: Sahir Ludhianvi

Direction – Dr M Sayeed Alam

Conceptualized and Produced by Sundeep Pahwa

LTG Auditorium, Copernicus Marg, Mandi House, New Delhi

Tickets: Rs 1000/750/500/400/300/200/100

Tickets are available at 9810255291, www.bookmyshow.com and the venue

About the Plays:

Ghalib In New Delhi – , After Lockdown (Hindi Comedy): It is India’s most successful and the longest running comedy, being performed since 1997. The play is an extremely funny account of the re-birth of the renowned 19th century poet Mirza Ghalib’s in the 21st century in New Delhi, highlighting his trials, travails and tribulations – from his second birth at the ISBT in Delhi; to staying in a Servant Quarter with a Delhi University student from Patna; to dealing with a Punjaban land lady; to becoming a Page-3 celebrity. 520 shows to its credit.

Script & Direction: Dr M Sayeed Alam

Featuring – M Sayeed Alam, Rahul Paswan, Sumit Bhardwaj, Aarifa Noori, Aman Jha, Aryan Kumar, Sharique Aziz, Asif Khan, Mehu Grover, Yash Malhotra

Sahir Ka Khayal Aaya (Urdu) – The play celebrated Sahir Ludhianvi’s 100th Birth Anniversary on March 8 this year. It is presented as a ‘Monologue’ (performed by Sharique Aziz) as it showcases young Sahir in the state of crafting his long poem Parchhaiyan, arguably the best and definitely the longest anti-war poem of the last 100 years.

Featuring – Sharique Aziz, Abhinav Chaturvedi, Naveen Anand, Poonam Malhotra

For further details:

Call 9810255291 / email: sayeedalam@ymail.com

Loosely described as, “objects used by the actor and those that are placed on stage” props are considered important as long as they serve on the stage.  After the show is over very little attention is given over them and they are loosely packed and kept until further usage.  How many of us have wondered about its deeper significance?  Do we even for one look closely at “ the skull held by Hamlet” or the “ crystal glass unicorn held by Laura” in Glass Menagerie?  Even once does the director care to explain to the actor for him/her to closely touch and feel the object as not only a part of the text but also beyond the whole text.  It should provide a moment of heightened emotion not only for the actor themselves but also for the audience.  Every object is to be placed by the set designer and the director with great fortitude and understanding.

The Natyasastra states that Natya was created to meet the demand of a plaything, it’s a “ Krida” (a source of pleasure and diversion to boredoms, wants the miseries of daily existence).   Therefore an art form can induce a temporary state of diversion of one’s immediate sorrow and an escape into a world of pleasure and happiness. Nataka or drama can do this more efficiently than other art form, because unlike other arts, it is both drisya and sravya, it has visual and aural appeal. It can satisfy us by graceful or spetacular senses presented on the stage, can gratify our ear or heart.  This is efficient only through props that makes the experience of the audience go beyond his reality.

Andrew Sofer, in his book, “ The Stage life of Props” says that, “ the object must be seen as having a sign.” The stage props hence has a strong presence, sometimes as strong as the actor themselves.  As Felix Bossonnet sees the props they are much more than the physical presence they hold.  Props have to be read between the complex relationship between the actor the text and the audience.  It provides a complete whole experience of transmission of the audience into the world of the “ play or krida”.  As Sofer sees the distinctions between the props and the characters should become more and more blurred, it should be amalgamated as one whole.  The responsibility of this hence is not just within the text but by the directors as well as the actors.

Dr Kapila Vatsyayan passed away peacefully at her residence (No.85, SFS Flats, Gulmohar Enclave, New Delhi), Wednesday 16th September, 2020 at about 0900 hrs, this morning, . She was a leading scholar of Indian classical dance, art, architecture, and art history. Many people felt she was the most authoritative commentator on these subjects.

She was formerly a member of parliament and also served as Secretary to the Government of India in the Ministry of Education, where she was responsible for the establishment of a large number of national institutions of higher education. She served as the founding director of the Indira Gandhi National Centre for the Arts. She was former President of India International Centre (IIC) and an IIC Life Trustee and the Chairperson of the IIC International Research Division. Bornon 25 December 1928 she was over 91 when she passed away

In 1970, Vatsyayan received the Sangeet Natak Akademi Fellowship, the highest honour conferred by the Sangeet Natak Akademi, India’s national academy for music, dance and drama; this was followed by the Lalit Kala Akademi Fellowship, the highest honour in the fine arts conferred by Lalit Kala Akademi, India’s national academy for fine arts in 1995. In 2011, the Government of India bestowed upon her the Padma Vibhushan, India’s second highest civilian honour.

Lamenting her demise, Film actor Sharmila Tagore said “I guess the final curtain comes to us all. I too have had some endearing moments with her.There was so much to learn from her.I admired & was inspired by her. Today where do we see people like her? With her knowledge & drive?Who is there to appreciate her legacy?”

Celebrated Theatre Director Designer Padmashree Bansi Kaul’s letter of courage and determination on Social Media, as he fights cancer and exhorts everyone to build a better world

My very dearest friends!
My best wishes and love to all of you… to all those performers from across the country who have the cultural events I designed the most amazing spectacles… and to every person I have met on this journey called life. I have not been able to thank all of you for good wishes on my birthday.

I have been unwell and have been detected with cancer of the brain as well as the lungs. Yet I am sure I will pull through and that we will soon meet again. Your good wishes are my strength.

There is a little folk metaphor, which I think is important for all of us. Nature has given us the choice to call it God or faith to create your own heavens for yourself. Therefore, what you do… you do all kinds of bad deeds to reach that heaven. For this you kill each other… and therefore, when we reach heaven, we realize that our rules and conditions do not work thee. We come face to face with two gates. One leads to the heaven that you have created for yourself… and the other gate is one that gives you the entry to inner peace. There is none of the worldly joys that give us only momentary joy and satisfaction.

This second gate leads to an amazingly beautiful world. So, thus, here too you must decide whether you will enter the gate for which you have fought? The world here no longer works according your whims and fancy. Your rule works so long you are a part of this transient world. In this short-lived world one wants to reach heaven at any cost, be it murder, plunder, or cheating. One is foolish enough to believe that this is best path to heaven.

Every community has its own imagination of what heaven might be. But when one is confronted with those two gates, one must decide which gate to enter… the gate that leads to the heaven that you have imagined or the gate that leads to inner peace, love, kindness and faith, where being there for each other is most important.

There will be no space for making mistakes in this final choice. The decision to enter one of the gates will only, and only, be yours! We are in times where displacements are the rule… displacements from physical spaces, nature, and natural sounds, from cultures, from one’s own family and friends. Scenes of daughters and sons carrying their aged parents across the country to a safer place during the lockdown, and children falling asleep on suitcases being rolled along are etched in my mind. All these painful experiences must be stopped.

This can happen only when there is a sense of general well-being. Lal Ded says,

“In the midst of the sea, with unspun thread I am towing the boat; would that God grant my prayer and, ferry me too, across…” .

(Lal Vakh. No. 23)

We all need to hold a single rope to tow the boat of goodness, peace, mental and physical well-being, gratitude, kindness, and magnanimity across the sea of life.

So, dear friends… killing, hating, plundering, and cheating… all in the name of belief and faith will bring nothing. All of us must love each other, which can happen only if you get rid of hatred. The act of throwing a stone of hatred at someone has its repercussions. It will rebound. The hurt ultimately comes to oneself.

And so, we must make more and more friends to make the world a better place to live in. We need to pave a strong, durable long-lasting path for the coming generations. Let’s give them a better world. When we say we are 60% young India, let us not forget that after twenty years or so there will be a 100% old India! We must start thinking about this… and think fast. There must be a sense of collective strength. Strength can only be in togetherness, and in togetherness there are memories.

I smile reliving these memories. My smile turns into laughter. Laughter celebrates the miniscule cosmic interval between birth and death. In laughter I see celebration and protest at once. It becomes force to cut through every form of negativity. Therefore, laughter must be celebrated! – Bansi Kaul

Theatre doyen and legendary Pedagog Ebrahim Alkazi, who shaped proscenium theatre in India, died peacefully on Tuesday afternoon after suffering a heart attack, his son, Feisal Alkazi, informed us. Feisal told me the whole family was proud of his fathers humongous achievements. A career spanning 74 active years he passed away at 94.

The funeral will take place tomorrow at Jamia Milia VIP Grave Yard. But outsiders have been politely told to stay away, for their own safety, away due to the prevailing pandemic. The entire family comprising among others Feisal Alkazi, Radhika Alkazi, Amal Allana, Nissar Allana were present in Delhi.

Mr. Alkazi, has been the longest serving director of the National School of Drama, produced plays such as Girish Karnad’s “Tughlaq”, Mohan Rakesh’s “Aadhe Adhure” and Dharamvir Bharati’s “Andha Yug”. He mentored generations of actors, including Naseeruddin Shah, Om Puri. M.K. Raina, Bhanu Bharti, Sonu Krishen, Manohar Singh, Surekha Sikri, Uttara Baokar, Dolly Ahluwalia, Ram Gopal Bajaj, the list is endless.

According to Wikipedia, He was born in Pune, Mahrashtra, Alkazi was the son of a wealthy Saudi Arabian business man trading in India and a  Kuwaiti mother.^[8] He was one of nine siblings. In 1947, the rest of his family migrated to Pakistan while Alkazi stayed back in India.^[9] Educated in Arabic, English, Marathi & Gujarati Alkazi was schooled in St. Vincent’s High School in Pune and later St. Xavier’s College, Mumbai. While he was a student at St Xavier’s, he joined Sultan “Bobby” Padamsee’s English theatre company, Theatre Group. Thereafter he trained at the Royal Academy of Dramatic Art (RADA) in London in 1947.^[7] There he was offered career opportunities in London after being honored by both the English Drama League and the British Broadcasting Corporation, however, he turned the offers down in favor of returning home to rejoin the Theatre Group, which he ran from 1950 to 1954.^[3]

Early on in his career he got associated with the Bombay Progressive Artists’ Group, which included M.F.Husain, F.N.Souza, S.H.Raza, Akbar Padamsee, Tyeb Mehta, artists who were later to paint from his plays and design his sets.^[7] In addition to his directing, he founded the Theatre Unit Bulletin in 1953 which was published monthly and reported on theatre events around India. Afterwards, he established the School of Dramatic Arts and became the principal of Bombay’s Natya Academy.^[3]

As the director of the Nationa School of Drama Alkazi revolutionised Hindi theatre by the magnificence of his vision, and the meticulousness of his technical discipline. Here he was associated with training many well-known film and theatre actors and directors. While there he created the Repertory Company in 1964 and directed their productions until he left.

He also founded Art Heritage Gallery in Delhi with his wife, Roshan Alkazi.

Alkazi won many of India’s most prestigious awards, creating an awareness of theater’s sensibility and successfully mixed modern expression with Indian tradition.^[3]

He was the first recipient of Roopwedh Pratishtan’s the Tanvir Award (2004) for lifetime contribution to the theatre.^[11] He has received awards including the Padma Shri (1966), the Padma Bhushan (1991), and India’s second highest civilian award the Padma Vibhushan in 2010.^[12]

He has also been awarded twice by the Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama. He received the Sangeet Natak Akademi Award in Direction in 1962, and later the Akademi‘s highest award the Sangeet Natak Akademi Fellowship for lifetime contribution to theatre.

A popular actor of yester years, Lalita Kenkre, passed away in her sleep peacefully on 28th July 2020 morning. She was 86. Wife of noted theatre director, actor, designer Damoo Kenkre, mother of director Vijay Kenkre, Lalitatai was the sister of Sudha Karmarkar, and along with her, a noted actor herself who did many major roles in Sahitya Sangh and Lalitkaladarsh. She was a student of Parshwanath Altekar and a contemporary and colleague of Vijaya Mehta. Coming from a traditional background of Sangeet Natak, she made a mark in plays by P. L. Deshpande, Vijay Tendulkar, Vidyadhar Gokhale, Shirwadkar. With her passing, Marathi theatre has lost a major actor. Lalitatai did memorable roles in films, especially of Sai Paranjape, Katha being one. मृतात्म्यास सद्गती लाभो.
Lamenting her death, Kamlakar Sontakke said; “Lalita Kenkre was a versatile actor of Mumbai Marathi Sahtya Sangha. She was supportive of young Theatre people and experimental groups. May her soul rest in peace”.

Lilette Dubey adds: “For me she was full of love and warmth .. we rehearsed for 5/6 years in her top flat (which she gave generously to theatre wallahs ) in Kala nagar .. with on the house tea and often snacks ! God bless her .. she will be missed!”