Upcoming Projects

Sangeet Kala Kendra is dedicated to work and bring to the society new ideas and programs. Sangeet Kala Kendra is open to work in collaboration with different organisations and individuals in order to bring different programms that can benefit students and professionals. Our List of Upcoming Programms for 2019,2020 and 2021 are as follow.

Nrityashree Winter (Swarajati) Workshop 2021 (Jan ) : This is one of our most interesting workshops that is lined up for 2021. Kalashetra Alumini Shri P.T. Narendran from Chennai will be teaching a Swarajati to the interested candidates. Students from any Bani can join. The schedule date is January 2021. This will be a 8 to 10 days workshop each session for 1 and half hours. The dates and time are yet to be fixed. Registration is going on. Do contact us through email (nrityashreekolkata@gmail.com) to enroll.

Nrityashree Folk Dance Workshop 2021 (Feb) : Every year we invite one of the local dance exponent to teach our beloved students. This year we have lined up Dandia Workshop for the students by Mrs. Nirali Mehata. Do contact us through email (nrityashreekolkata@gmail.com) to enroll.

Nrityashree Dance Festival 2021 (Feb/March ) : We are inviting and accepting applications for this event. This is an online dance and music festival. Do contact us through email (nrityashreekolkata@gmail.com) to participate (No Fees and No age barrier).

Nrityashree Varnam Workshop (Nov/Sep) 2020 : This is one of our most interesting workshops that is lined up for 2019. Kalashetra Alumini Shri P.T. Narendran from Chennai will be teaching a Swarajati to the interested candidates. Students from any Bani can join. The schedule date is September/ November 2020. Registration is going on. Do contact us through email (nrityashreekolkata@gmail.com) to enroll.

Nrityashree Guru Purnima Celebrations (July 2020) : This is a 3 day long celebration through dance. Friends, acquaintance and colleagues have come together to celebrate the day through dance. Due to pandemic situation in 2019, we have decided to celebrate the auspicious occasion of Guru Purnima. Each day there were 3 performances. The panel artists were invited keeping in mind the diversity of Indian Classical dances of India.

Nrityashree Jhulan Utsava 2020 (July/August) : This is a 10 day long festival to celebrate the Jhulan Utsav dedicated to Lord Krishna and Radha. Dancers from across the country have come forward to take part in this event. The artist panel is a perfect blend of Mature professionals and young aspiring dancers. Each day there was at least one Bharatnatyam performance. The promotion of this online Festival was done through Tweeter, Facebook and Instagram. The performances were Live on our FB page and also Premiered on our Youtube channel.

Nrityashree Kesava Dance Festival 2020 (August ) : This is a two month long dance festival organised by Sangeet Kala Kendra, Kolkata to provide platform to the young kids who wants to perform. The age limit has been restricted to below 16 years. The response received is quite overwhelming. Dancers from pan India have come forward to send the videos of there students to take part in this Dance Festival. Each of the participants are given cirtificate and a letter of acknowledgement. The dance videos along with there respective profiles have are premiered on the Nrityashree Youtube Channel. The promotion of the videos are done through Tweeter, FB and Instagram.

Nrityashree Abhinaya Workshop (July/August 2019) : and This is a part of the Bharatnatyam workshop that is help every year. This year Kalashetra Alumini Shri P.T. Narendran from Chennai conducted the Abhinaya workshop. This was oganised in collaboration with NRYUTAMBALAM. The dance taught in this week long workshop revolves round Ashtapadi and Padam. Around 40 students from pan India had taken part in these workshops. Do read the feedback of the participants for this workshop below.

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Angalakshana Part 1 - Anga Pratyanga & Upanga

The science of dance was extremely well developed in ancient India. The word Angalakshana refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body. Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom. Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga. Charaka also proved the co relation of spirituality and physical health c

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage. Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called Deva Hastas and AshtaDikpal Hastas. Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.

Natya Shasatra _Slokas

Artist : Shilpi Nandi "The joy of dance can not be explained or taught. It has to be experienced." Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami Brahamanaya Duthahrutham I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu Gurunamasya samsthithaha Vakshasthaschaiva vipranaam Sheshethwa niyamo bhaved I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire south east Asia. Vishnu shakthi samuthpannae

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side. Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow Dampati Hasta : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand. Matru : Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi

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