SangeetKalaKendraKolkata

  1.        Mysore Bani : Features : Abhinaya presents the lyrical beauty of the saint composures and poets. Its certain multitudinous and has special effects. Even in the Adavus the lyrical beauty can be seen. Hence lots of stress was given on how the sollus were narrated and how the songs were sung.   Flowery hand gestures are very impressive. Dancerspreffer using more of allapadmaincomparison to Pataka, Tripataka and Katakhamukham.   One of the things that is distinctive about mysore Bani is that they started using Ashtapadi much before other Banis started using them. Mysore court sponsored the musicianas and the dancers.Chinnaiya lived at the court for some years and contributed a lot to this style. Most of the items that were performed were of the Tanjore Quartet   Famous Dancers/Gurus   :Nagamani, C. Radhakrishnan, Kesha Murthy, PadmabhusanaDr. K Venkateshlakshman. PadminiShreedhara, PulakeshiKasturi, Veena Sridhar, D. ...

  1.        Kanchipuram Bani : Much less known than its counterparts, Kanchipuram Bani abides to the   line of “AsyenaalambayethGeetham “, As mentioned in Natyakarnam, both the vocalists and the performers reciets the lyrics of the song while performing the abhinaya. Though this practice is hardly seen now a days. Blend of intricate rythemic patterns with the graceful abhinaya, showing the grace of the dancer’s body as well as portraying the sculptures of Ekambareshwara temple, this Bani is very interesting. Sri EllapaMudaliyar is well know for his rythmn synchronization and musical fluidity along with analysis of raga structure and swarastanams. Ellappa was kandappa‟s cousin. Ellappa had been Kandappa‟s assistant for Several years. His home in Mambalam attracted the likes of Ram Gopal, the internationally famous dancer, and a host of French girls who made Madras their dance-home. He was a skilful teacher and a great singer. Ellappa accompanied B...

  1.        PandanallurBani :Many 1 st generation star dancers went to Pandanallur village to learn. This style has diverse Adavu patterns and has worked and stylised techniques. Emphasis was given on symmetry and harmony, complex rhythmic pattern, intense musicality, purity and precision of rekhas. The dancers gave away the excess of body movements and melo drama concentrating on the purity and subtlety of the dance itself. The abhinaya was purely Natyadharmi.Slow progression and evolution of the techniques were the main features. Wide swipe of arm, clarity of hastas, controlled emotional quotient was the main moto.   Dragging the Sancharis was not done atall. The items and the dance dramas were crisps. Lots of importance was given to the content rather than excess drama.Vulgarity in any form during abhinaya and excessive acrobatic movements during nritta was kind of prohibited.Araimandi and AngaSudhiwas given lot of priority. Too much of Utplav...

1.        Tanjavur Bani   : Bharatnatyam seems to have originated from the cultural capital of Tamil land , Tanjore. The Tanjavur Quartet (Ponniah 1804 -1864. Chinnayaa 1802 -1856, Vadivelu 1810 -1845 and Sivanandam 1808 -1863 ) under the patronage of  Seffoji Court (Maratha Kings) constructed the margam and did many compositions that forms the basic structure of Bharatnatyam today.  These 4 brothers learnt music from the great saint poet MuthuswamyDikshitha.  They adorned the different courts of South India. For Example  :   moved to Mysore Court under the shelter of Woodiyar kings. They are the ones who set the Margam as we know today. They composed many Allaripus, Jatiswaram, Kautuvams, Sabdams, Varnams, Padams, Javelis, Kirtanais and Tillanas.  It is because of there creativity, Innovations and intelligence lot of artistic changes were seen in the sadir dance. There foresightedness is awestuckking as there composi...