https://youtu.be/BAeksqwPpyo It has been one and half years since the world is facing the crucial challenge called #Covid19. Amidst of this trivial tricky journey, performing art has taken different face of expressions. Even Noopura Bhramari has experienced, examined these phenomenon while assisting to the #artistes need. Many of the artistes are still struggling to maintain the line with livelihood and Art. In this path, beginning of #Certificatecourses are one of the major programme initiated by us, to rejuvenate the minds of ardent art seekers. Now, *Shodha Sarani 5 bringing the study results on Impact of Covidpandamic on Dance and Dancers by Dr Soumyashree M Kaku*, Bengaluru based medical doctor (#NIMHANS), clinical #researcher and #Bharatanatya dancer. Producer : Dr Manorama B N , Principal and Editor, Noopura Bhramari Video Editing : Vishnuprasad N & Dr. Soumyashree M Kaku Expert committee for this presentation : Dr Shobha Shashikumar, Dr Dwarita Viswanatha and Arjun Bharadhwaj
ರಾಮಮೂಲವಾದ ಭಾರತೀಯ ಸಂಜಾತ ಕಲೆಗಳ ವಿಶ್ಲೇಷಣೆ, ಆಚರಣೆ ಮತ್ತು ವಿಸ್ತಾರವನ್ನು ಕುರಿತಾದ ಈ ಲೇಖನದಲ್ಲಿ ನೃತ್ಯಾಸಕ್ತರಿಗೆ ಅನುವಾಗುವಂತ ನಾಯಕಭಾವದ ಭರತನಿರೀಕ್ಷೆಯೆಂಬ ಪದವರ್ಣದ ಸಾಹಿತ್ಯವೂ ಇದೆ. ಅಯೋಧ್ಯೆ ರಾಮನಿಗೆ ದಕ್ಕಿದ ಕಲಿಯುಗದ ವಿಧಿವಿಪರ್ಯಾಸದ ಹಿನ್ನೆಲೆಯಲ್ಲಿ ಈ ಲೇಖನದ ಭಾಗಶಃ ಅಂಶವು ಹೊಸದಿಗಂತ ಪತ್ರಿಕೆಯ ಬೃಹತ್ ೩೨ಪುಟಗಳ ಸಂಚಿಕೆಯಲ್ಲಿಯೂ ಪ್ರಕಟಗೊಂಡು ನಾಡಿನೆಲ್ಲೆಡೆ ಮನ್ನಣೆಗೆ ಪಾತ್ರವಾಗಿದೆ. ಈ ಲೇಖನ ಪೂರ್ಣರೂಪದಲ್ಲಿ ನೂಪುರ ಭ್ರಮರಿ ಸಂಶೋಢನ ವೇದಿಕೆಯಲ್ಲಿ ಈ ಮಾಸಿಕದ ಆವೃತ್ತಿಯ ಪ್ರಧಾನ ಸಂಭ್ರಮ ಲೇಖನವಾಗಿ ಬೆಳಕು ಕಾಣುತ್ತಿದೆ.
The ballet was conceptualized and lyrics was written by Shathavadhani Dr. R. Ganesh. Sri Mantapa Prabhakar Upadyaya danced as Sharmishte and Dr. Shobha Shashikumar danced in the role of Devayani. Accompanying artists were Shri Hari on Mridanga, Narasimhamurthy on flute, A.P.Patak on Maddale, Prasannakumar on Rythmpad special effects. Renowned carnatic musician Kanchana Sriranjani added melody by singing lyrics to the dancing. The article contains the links of video, photos and synopsis written by Dr Shobha Shashikumar on jugalbandi in detail which held by BTM cultural academy at Bengaluru Ramana Maharshi Blind school auditorium on 18 December 2017; evening 6pm.
Any two dance forms presented in a jugalbandhi would serve as interesting material for comparative analysis with respect to mutual technical adaptability and aesthetics. Here Dr Shobha Shashikumar analyse the comparative patterns of Bharatanritya and Yakshagana.
This is a dance criticism (Kannada) on the Dance production -Pushpakayaana performed by 3rd semester batch students of Dance and Performance department of Jain University. This article not only reviews the performance but also gives the hint towards the universality and employing techniques of Ramayana in dance performance and theatre. This writing is referential material to researchers and artists, apt for scholarly discussion and also example for the usage of linguistic beauty in review and criticism too. This article consists appropriate photographs along with narration in Kannada.