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Esha Banerjee @ ICCR Kolkata
It has been our constant effort to pass on the ancient knowledge of Nrittya, Natya and Bhava mentioned in the 5th Veda or Natya Shastra to the young generation. With this goal we regularly organize various workshops. Renowned experienced artists as well as motivated upcoming artists are invited to conduct these workshops.

The classes are mainly conducted by Mrs Champa Banerjee and Ms Esha Banerjee along with few more recruits. This mother daughter duo have been diligently pursuing the path of Indian Classical dance forms. Under the able guidance of Mrs. C Banerjee many students have successfully been initiated to the stage as well as completed the Maragam through Arangetram. They have quite a few production under their belt -----Navarasa, Draupadir Bilap, Kuntir Upekha are just to name the few. 

Sangeet Kala Kendra, the dream project of Mr. Tanmoy Banerjee and Mrs Champa Banerjee was established in 1989 with a vision to spread Indian culture to the new generation. Since its birth it has been successfully conducting training in the field of Indian Classical Dances, Indian Folk Dances, Painting, Performing Arts like tabla/Guitar/Keyboards, Cooking, Indian Classical Music etc.  

Mrs C Banerjee have completed her taining under the guidance of Guru Smt. Mira Dasgupta (who happens to be her elder sister) in Kathak and Bharat Natyam. She has completed her 7 years of Manipuri training at a very early age, She is a graduate from Government Art Collage with specialization in Leather Batick and Sculptures. Playing guitar, watching sad hindi/ bengali movies and reading stories of Gods is her favorite past time. She has been an honoured Judge of Pracheen Kala Kendra, Chandigarh for more than 20 years.

 Ms. Esha Banerjee have completed her Arangetram at a tender age of 15 under the able guidance of Guru Smt. R. Venkateswara and ever since have been rigorously training under Guru Mira Dasgupta. Bhartnatyam though is her first love she has completed her 5 years diploma is Kathak, Rabintrda Nrtiya and Painting. She is learning Orissi at the feet of Mrs. Anindita Mukherjee. She had attended many sessions conducted by Padmashree Guru Chitra Vishweswaran. She has secured first position in Bharat Natyam (5 yr Diploma) from Pracheen Kala Kendra, Chandigarh and have gone ahead to become an honoured examinor of the institute. She has completed various workshops in Gujarathi and Rajasthani folk dances under Mrs. Sumitra Meheta. Her interest ibn choreography grew while she was still taking training. She is currently on her way to complete her book on Bharat Natyam which is due for publication in 2018. It is her dream to establish a residential fully funded school for students who would like to pursue the margam dance.

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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
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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.
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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 
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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
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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,
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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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