ನೂಪುರಭ್ರಮರಿಯ ಶೋಧ ಸರಣಿ - ಕಲಾ ಸಂಶೋಧನ ಪ್ರಸ್ತುತಿಗಳ 7ನೇ ಸಂಚಿಕೆಯಿದು. ಈ ಸರಣಿಯಲ್ಲಿ ರಸಾಧ್ಯಯನದ ತಿಳಿವಿನೊಂದಿಗೆ ಸಾಳ್ವ ಕವಿಯ ರಸರತ್ನಾಕರ ಗ್ರಂಥದ ವಿವರವಾದ ಪರಿಚಯ, ವಿಶ್ಲೇಷಣೆ ಇದೆ. ಇದರ ವಿಡಿಯೋ ಪ್ರಸ್ತುತಿಯನ್ನು https://youtu.be/aOmTJu1Cwm8 ಇಲ್ಲಿ ಕಾಣಬಹುದು. ಇದರ ಹಿಂದಿನ ಸರಣಿ- 6 ರಲ್ಲಿ ಪಾರಂಪರಿಕ ಗೊಂಬೆಗಳಶೈಲಿ ಗಳಲ್ಲಿ ವರ್ಣವೈವಿಧ್ಯ ವನ್ನು ಪ್ರಾಯೋಗಿಕ ಒಳನೋಟಗಳೊಂದಿಗೆ ಬೆಂಗಳೂರಿನ ಕಲಾವಿದ ವಿವೇಕ್ ಶ್ರೀಧರ್ ಅವರ ಪ್ರಸ್ತುತಿಯಿತ್ತು. ಅದರ ಲಿಂಕ್ ಇಲ್ಲಿದೆ. https://youtu.be/7nRpAekaNUs
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
History of Ancient India has seen many dynasties like the Maurya, Śunga, Śatavahana, Kaḻinga, Gupta, Pāla, Vardhana, Raśtrakūta, Cālukya and so on, that have ruled across its length and breadth. The magnitude or the expanse of these dynasties can be realised by studying the history relating to these dynasties. Through their great patronage to arts, each of these dynasties set their impression into history, which is as glorious and unique as one can imagine. Gupta period is considered as the “Golden Era” by most historians . Inscriptions, sculptures, and literary sources of Imperial Gupta period (4th Century CE to 6th Century CE), provide some of the crucial evidence with which one can estimate the state of dance during the Gupta period. When Chandragupta-I established the kingdom of the Guptas, it was a significant political development as the Guptas were one of the earliest indigenous kingdoms to rule such a vast empire where there was multitudinous development. Excellencies were achieved in terms of education, administration, science, literature and so on during the Gupta reign. Such growth influenced the social life of its people that further nourished art and culture too . Hence through the study of various sources of this time like the inscriptions, literature and sculptures, one can understand the dance during Gupta period. The Gupta inscriptions as well as literary sources belonging to the Gupta period like the Kāmasūtra of Vatsyāyana, Caturbhāṇi by Śyāmilaka, Vararuci, Śūdraka, Īśvaradatta and works of Kālidāsa gives us an idea of the society and the system during Gupta period.
Karnāṭaka Music has various musical genres and the most interesting among them is rāgamālika-s. The contribution of prominent composers like Muddusvāmy Dīkṣitar, Svāti Tirunāḷ, Tiruvoṛṛiyūr Tyāgayyar, and Harikēśanallūr Muttiah Bhāgavatar in the realm of rāgamālika is well known. What is lesser known is the contribution made by the members of the family of Muddusvāmy Dīkṣitar, namely Rāmasvāmi and Subbarāma Dikṣitar. Subbarāma Dikṣitar, well known for his text Saṅgīta Sampradāya Pradarśini has composed ten rāgamālika-s, including a rāgāṅga rāgamālika. The rāga-s featured in his rāgamālika-s range from a common ones like Kalyāṅī, Śaṅkarābharaṇa to rarer ones like Rudrapriyā and Balahaṃsa. Since three members of this family have handled this musical form, this article attempts to know whether any similarities exist between the compositions of Subbarāma Dikṣitar with his predecessors. Also, we will be engaging ourselves to know the system followed by in handling the rāga-s which got its svarūpa changed, predominantly in the last century.
The photograph has been valued for its ability to produce authentic and realistic representations of the world. Early in the history of photography, attempts were made to record movement through the still photograph. Initially employed in studying locomotion in animals, photography technique was soon used to capture the human body in movement. With the evolution of camera technology, what once required multiple cameras to capture motion sequences, now requires only a single camera. With these advances, using photography to record dance and other performing arts slowly gained popularity. Initially appearing in print media such as newspapers, magazines and books, photographs of dance now seem to be ubiquitous with the advent of internet and social media. Dance photographs not only seek to capture the movement of the physical body, but also the emotion pervading the motion. While there are many works on dance photography in the western context, there are very limited studies in this area, specific to the Indian context. The present study aims at understanding dance photography in the context of Indian classical dance. Capturing Indian classical dance through the camera implies that the photograph must convey the Abhinaya (Caturvidha Abhinaya aspects as theorised by Bharata) of the dancer. Hence, the current study aims at understanding the way in which a photograph can capture the Āṅgika, Āhārya and Sātvika Abhinaya of the dancer. In order to achieve this, the study analyses few dance photographs captured in performances, on two levels: i) aesthetics of the dance captured by the photograph and ii) the aesthetics of the photograph itself. Given that this research is interdisciplinary in nature it could be useful in understanding the inter-relationships between art forms.