When Raga Bhairavi met a Bharatanatyam movement

Mavin Khu | Photo Credit: Iyyappan

Chennai has the same way for artists and audiences, which is tirelessly and upset, which is still powerful with places or moments of quiet immersion. It may be convinced of landing first on that Jeeva Swara of a raga in a kachri, which is an unexpected choreographer improvisation in a repeated composition, a moment of internalization in a workshop or some echoes from the main speech of a conference To words. Cuisted by Sparsha Arts Foundation led by Vidya Subramanian, “Where the Music Meet the Dance”, Mavin Khu and Binda Manikawasakan had a session on music in smooth dance, there was such an experience. There was a part of the ongoing series of initiative to increase interaction between various classifications within the session art held at Sparsh Studios in Nilangarai in Chennai.

Coming with two artists, whose craft is beyond introduction, was a case of anticipation in itself. As a primary reference to performance and discussion, with a vanam of an Ashtapadi in Sankara Bharanam and Sudha Sarang, and for comparison, Khamas and Bhairavi’s quick snipets, the conversation between dance and music in the session is unbearable, unbearable, like a river, like a river Which is definitely like a river. Its course.

Brindha Manickavasakan | Photo Credit: Special Arrangement

With some quality conversation with Mavin Kho, someone will see that he repeats certain conditions and ideas. Nevertheless, every time they make fresh sound and smack in context, as he acts. In its subtlety, his performance, devoid of unique gestures and metaphors, is new every time because he is present there at that moment, and it is absolutely alive. Some ideas that recurrence in their conversations and discourses, they are shameful, ambiguity, but the immense impact on the word music, and their dance is a constant avoiding. Every word he spoke was easily translated and performed in music by Binda.

Mavin shared, “I often request a urge in the context of how clever choreography can be, as contrary to stripping back and examining if we are sitting in music in it.” Talking to his personal experience, he further stated that two sides were important for his process. One is embodied in the voice of the raga and musician, their beauty and spontaneous options, and the other, every note of the raga finds happiness and ability like a child. One forward and back between dance technology and music, he emphasized stylistic handons with a style of pedestrian emotions, holding a catch in ownership of identity, which is alive and not learned.

Vidhya Subramanian | Photo Credit: Special Arrangement

Researchers Julin Body and Elin Lobel in their magazine argued that the emotion is not always reliable, and whoever is accustomed to feel right. MavinDescended on the same idea, while speaking about some methods in acting, who are habitual, which take away from accurate. “It has a temperature. I don’t know if it makes sense, ”he said. This was understood when he demonstrated a specific and unique shadow of Sriringara for each note of Shankarabharanam.

From the point of view of a musician, with Shankaranam, as an example, Binda spoke to his first venom in the raga for history, compositions and therefore exploration. He explained that in the context of Curvis, the first note in different compositions is ‘Sa’ unique, and how literature adds an entire dimension to the raga. Speaking of the terms of cooperation, Mavin said, “I lead, unattainable, but I also surrender”. Binda agreed with him and shared that she follows repetition and transition while singing for dance, but allows the raga to handle several times. He said that his Manodarma does not feel the curtain in any way in cooperation.

The session was summarized with some decisive views. The immersion is as important for the dancer, so there is fairness to edit in the process. Although it is not necessary for the audience to dance only, it is important to understand that the responsibility of the dancer is to enable the audience to add their memory or experience that is being danced. The questions raised after the session were less, but it was clear that the tech-hom from the session was actually a lot of questions on someone’s option as a dancer.