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17 States and 697 Nukkads : Depicting Social Evils of the Society

Vipul Singh Tapas,  a 22 years engineering dropout and traveler on a shoestring budget, is unveiling the hero in himself  without any cap and recognition.

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When we talk of heroes, we presume that they are strong and have a great fan base. This is neither the world of comics nor the childhood fantasies of Marvel and DC.  Lets us take you to India, where heroes are born in common house holds but don’t have a recognition.

Vipul Singh Tapas is a 22 years engineering dropout and traveler on a shoestring budget. Unveiling the hero in himself  without any cap and recognition, Vipul is a street artist and a social activist. The introduction might give you the contents of the book but only the chapters inside give you the exact story.

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He is like every other student, traumatized by Mathematics, forced to opt for engineering, still, somehow,  managed to pursue what he is loving and  passionate about. Communicating with the masses in general and theatre in particular, Vipul travels to various parts of the country. On being asked how does he manage to travel, he promptly replied “I keep a shoestring budget for my travels and visit rural sections of the society and caters to the issues and troubles faced by the people in the rural area”.  He  discusses the problems of the villagers  with the village authorities and urges them to resolve the same. If no action is being taken, then he depicts it before the villagers in the form of a Nukkad Naatak. So far he has been to 17 states and performed more than 697 nukkads depicting social evils and issues people face in the rural India like social hypocrisy, and gender inequalities.

The Talented Indian Community would like to appreciate and recognize the great work, being carried out by Vipul Singh Tapas. We would also like to appeal to all Indians to encourage and support such acts aiming to remove social inequality and promote social harmony among the people of the country.

Source: BeepWeep

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DANCE

The Tales That Come From Our Yesterdays: Eshani Sathe

Meet Eshani Sathe, an incredibly talented Kathak dancer who is weaving her art into a language that you can understand.

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Eshani Sathe

There is a sense of eloquence in the manner in which she speaks. That same eloquence, that same dignity, is evident in her work. Eshani Kiran Sathe, then, truly stands as not just an incredibly talented Kathak dancer but also as an artist who has a deep understanding on how to translate her art, her roots, into a language easily understood by others. After all, there is no greater achievement for an artist than the satisfaction that comes with their art being accepted by the rest of the world. 

Born and raised in Akola, Maharashtra, Sathe stepped into the world of classical dance at the tender age of three. The daughter of a classically trained Kathak dancer, Sathe, initially, did not plan on forging a career in Kathak. At the beginning of it all, Kathak, as a dance form, was something she just grew up with. It ran in her blood and she loved it, sure. However, it did not become a part of who she is until much later. 

When we talk about her formative years, Sathe reveals her enduring love for English Literature. She reaffirms it, at a later point, quite unequivocally, and quite unintentionally, when she talks about her love for Enid Blyton as a child. For Sathe, it was an engaging childhood, to say the least. She spent her childhood engrossed in her education and her love for English Literature while also balancing her classical dance training. To be frank, Sathe’s career path could have been a matter of circumstance. I have a sneaking suspicion that she could have been as good of an established writer as she is a Kathak dancer. And that says a lot by itself. 

Credit: YouTube (Eshani Sathe)

Now, as she looks back on it, Sathe admits that, in hindsight, juggling all her responsibilities, at that age, may seem like a lot. However, at the time, she didn’t think much of it. It was simply the way things were. And, to be frank, those very things went on to define the person Sathe is today.

If you head on over to her YouTube channel, which, by the way, is home to a wonderful curation of videos, you would probably come across a project of her’s, titled ‘Shakti’. When we discuss the project itself, Sathe elaborates further on the manner in which she approaches any project that she is a part of. At the beginning of it all, Sathe fixes herself on what she truly wants to explore with any given concept or project. In the case of ‘Shakti’, Sathe reveals that the track used for the project is tied to her on a deeply personal level. In fact, the track used for ‘Shakti’ is one that Sathe recalls as being one of the first tracks that she saw her mother perform to. Now, when she intended to use the track for her project, it carried, with it, a fusion of her own self-beliefs and her own connection to her feminine energy.

I am glad we got to talking about the projects that she is a part of. You see, one of Sathe’s primary responsibilities, as the curator at Kathak Nritya Mandir, is the creation of classical content for digital platforms. One of the first things she learnt in her journey of creating digital content is the fact that there are multiple competing avenues of content available for the audience of today. The only question, then, that remained to be asked, was what truly entices an audience to consume your content? For Sathe, the answer was simple and lay in the foundations of who she is as an artist. The basic principle was to translate her art, of Kathak, in a manner that was faithful to its roots, while, simultaneously, making it accessible to those who may not be as well-versed as others in regards to classical dance.

Credit: YouTube (Eshani Sathe)

Today, as Sathe goes on, there is this need, for your art, to be incredibly accessible and consistently engaging to an audience. At the same time, there is also this desire, on the part of the artist, to be faithful to their roots. For Sathe, it isn’t always about just following the emerging trends. And, to be honest, it can never be about that. That route, as Sathe affirms, of warping your own creative piece or your art to fit in with a trend, will never be sustainable.

Now comes the part of the conversation where Sathe, and you must forgive my lack of vocabulary here, absolutely schools me on the nature of dance as an art form. There is this perception, one that I was inclined to as well, of dance either being a medium of popular entertainment or a medium for the perpetuation of culture. For a lot of people, dance always had to be one or the other. It could never be both.

That, Sathe explicitly states, is absolutely wrong.

Classical dance forms, though erroneously seen solely as a medium of cultural perpetuation, began as channels for storytelling. If we look at Kathak, it all began with storytellers. Kathak, as a dance form, was never just about solely being an avenue for imparting a historical legacy. It was as much a tool for entertaining an audience as it was a tool for leaving behind a cultural legacy. Classical or Cultural art forms, then, all fuse into being a medium of self-expression, education, entertainment and storytelling.

“Kathak can be a medium of expression for the artist and it can also be a medium of entertainment for the audience without necessarily having to be a route to some divine self-realization or cultural perpetuation.”

Eshani Sathe

As of now, Sathe is looking forward to hosting a series of programmes in the near future. Sathe, on the behalf of Kathak Nritya Mandir, is in the midst of organizing a programme that brings the choreography of multiple artists, including her mentor and tutor, Pandit Rajendra Gangani, in January of 2022, in the format of a live show. On a personal front, she is now cataloging a series of digital productions that she is going to put out soon.

It is truly amazing when we really get to mapping out her life so far. I said, earlier, that it may have been a matter of circumstance that Sathe chose to become a Kathak dancer instead of a writer. When I look back to that statement, I am not entirely sure anymore. With guiding figures such as her mother, Radhika Sathe, and her mentor, Pandit Rajendra Gangani, I don’t think Sathe could have gone on to being anything other than the wonderfully talented dancer that she is. Kathak called to her in a way that nothing else ever did. And, Eshani Sathe couldn’t help but answer.

Credit: YouTube (Eshani Sathe)
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From Semi-Classical To Fun, Modern Moves: These Covers Have It All

Take a breather and look at these fun self-choreographed dance performances by some talented dancing feet.

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Dance Covers

When dancing feet move, they are possessed by the character they portray when onstage. To be able to express and make a flawless delivery of the borne emotions, a dancer is said to have mastered the art of dancing. When the performance speaks to the audience, the performance becomes art. We bring you 4 such dance pieces that not only speak to the viewer, but also are a clear reflection of the talent of the performer, and the flawless execution that you’d not want to miss out!

Starting off with Naina Batra; the talented performer self-choreographed and performed this dance piece on the song ‘Mehboob Mere’. For a song that is bold in terms of expression, it required equally bold performance to match. Naina not only choreographed awe-inspiring dance moves but also performed them with equal boldness which is reflected through her expressions in the cover. The trio dance to the beats of the song with dripping confidence that serves as a highlight to the performance. The combination of the flawless execution of the choreography by the Lehanga donned trio, the aesthetically pleasing set and the perfect camerawork makes the cover a must-watch!

[Credits: YouTube(Naina Batra)]

Up next we have another self-choreographed performance by Kartik Raja, featuring Akash Thapa. The dance cover of ‘Abhi Kuch Dino se’ is fun to watch with the clean and swift execution of the moves and the great editing of the video. The dancers not only have synced moves but also wear on-point facial expressions that serve as an expression element besides the dance moves. The overall cover is short yet wouldn’t fail to bring a smile to your face. Check it out here:

[Credits: YouTube(kartik Raja)]

‘Chura ke dil mera’ is a classic, upon listening to which, no feet can resist movement. Neerav Bavlecha and the team have choreographed the song and it’s a sight to behold. With an aesthetically pleasing set and great coordination between the dancer duo, the cover came out smoothly. The cover features Srishty Rode in a gorgeous lehenga, dancing beside her partner. Overall, the cover is a beautiful watch and deserves more hype. Check it out here!

Credits: YouTube(Neerav Balecha Dance Dilse)

At the end, Arpit, in collaboration with Vijetha has choreographed and covered the Akshay Kumar classic and we absolutely love it! The cool funky vibe that the entire cover gives off makes you want to replay it over and over. The perfect synchronization between the two dancers makes the video a worthy sight. The white aesthetics gives the video a fresh, cool feeling to it which you definitely don’t want to miss out. Check it out here:

[Credits: YouTube(Arpit Goyal)]

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“Be your own saviour, Be your own hero” and many other lessons with Odissi Dancer Laavanya Ghosh

In a conversation with Odissi specialist Laavanya Ghosh, we discovered what it takes to unlock the purity of art.

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Laavanya GhoshLaavanya Ghosh

Scholars and practitioners of the great dance Odissi would tell you about how it’s one of the oldest dances birthed from this great land. And it has evolved immensely as time has gone by. They will also tell you that while some things have changed, the intense bhakti bhava (the feeling of devotion and surrender) which ripples through each movement has been present throughout. Just as the art has grown, so has the artist.

All dancers make their own way through the walk of life, they find different parts of the art they love and end up revolutionising it. But at the core of it, no matter what the challenges, the love persists and this makes the pursuit of art so noble. Odissi is an old classical dance form, the centre of which is largely considered to be the towns of Puri, Bhubhaneshwar, Cuttack and Konark. Laavanya Ghosh is an Empanelled artiste at Doordarshan Kendra Kolkata. She is also the recipient of many national-level awards such as the Gopikrishna Award and the Bal Kala Award. And her story shows perhaps just as much evolution as the dance itself.

Credits: YouTube (Laavanya Ghosh)

Early Life and Challenges

Born in Kolkata, she moved to Bhubaneshwar where her path in Odissi commenced. Her mother whom she calls her only positive critic was her initial source of inspiration that pushed her to start learning Odissi. Due to personal reasons, her mother couldn’t pursue the dance herself, so she made sure her daughter got classically trained. And naturally, she went to a class near her house and wrote the first chapter of her career. She looks up to Guru Smt Sujata Mahapatra and also to Madhuri Dixit.

Almost instantly, Laavanya fell in love with the beauty of the movement and as the days went on she admired the wonderful depth of the history of Odissi. Dance in the mainstream is thought of very subjectively—some may like the way one person expresses dance and some may not. There is no objective truth here but the criticism can often get extremely hurtful. For Ghosh, she fell into a period of depression and hurt because of society’s perception of a ‘pretty dancer’. Clearly, her beautiful performances have shut all the critics down. It is important to understand that physical traits really don’t have any correlation with one’s dancing ability. So this is a call to you dear reader, get dancing!

Credits: YouTube (Laavanya Ghosh)

Lessons and Message

Laavanya’s character is amongst her strongest characteristics. Constantly looking to improve and challenge herself, she has learnt how to prioritise the right things in life. She recalled how once she had to decline to participate in social gatherings as it interfered with her practice and rehearsals. When it comes to finding the right balance in life, she has done that from the very beginning. Even as a young kid, she danced her best before an important exam and aced the exam too! As an introvert, she has taken huge steps to improve her interpretation and expression. Always improving, always shining.

Dance taught Laavanya the importance of the 3Ds: Dedication, Determination and Discipline. The discipline itself is a major component of the lifestyle of a classical dancer. Laavanya tells us that dancers must remember that classical dance is a form of worship. One must conquer the basic techniques while also following a proper diet (yes and that means you need to advise junk food)

Laavanya’s parting message is one filled with strength and grace, just like the glorious tradition of Odissi. Every person has the potential for doing something great. Be true to your inner artistic self. Her life’s motto is simple

Be your own saviour. Be your own hero. 

Credits: YouTube (Laavanya Ghosh)
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Rhythm Divine: These Semi-Classical Dance Performances are a Sight to Behold

We bring to you some mesmerising semi-classical dance performances of utter perfection and beauty.

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Classical Dance

They are here to mesmerise you with their movements and leave you gaping at how beautifully they execute them. These women piece together semi-classical dance performances that are flawless in all aspects possible. From expressions to aesthetics, professional skills, and artistry, they give their all to the choreographies and own them. So, get ready to be charmed by these awe-inspiring performances! 

Mahima Khanum’s performance of Odissi dance is actually her practice routine, but in no way would one find that believable. Because her skills, steps, and execution are so on point that it leaves you captivated and wanting for more. While the video shot in Venice offers a beautiful background, Mahima’s amazing moves of the classical dance and attire are the worthy highlight of the whole video.

Credit: YouTube (Mahima Khanum)

Shreewarna Rawat, a trained Kathak artist, renders a performance to the title track of Mahabharta. The choreography is set to the words of the song, while her movements and expression let the story come alive. With her body language and the routine being powerful and spot-on, Shreewarna delivers the piece with perfection. 

Credit: YouTube (Shreewarna Rawat)

Saandra Salim’s Bharatanatyam choreography is set to Amit Trivedi’s song, ‘Namo Namo Ji Shankara’. More striking than her smooth execution of the dance routine are the expressions that she accompanies them with. The whole performance, even with the technicalities of the steps, is done with an air of effortlessness. It is magnificent to watch Saandra perform, from the start till the end. 

Credit: YouTube (Saandra Salim)

Shades of Kathak presents a performance by Vaidehi Lachheta, Nandini Goyal, and Uditi Singhal on Rahat Fateh Ali Khan’s ‘O Re Piya’. It is a very pretty, creative, and awe-striking deliverance. The trio moves to the song beautifully, with their synchronization, costumes, location, and overall graceful movements making it a delight to watch!

Credit: YouTube (Shades of Kathak)

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Of Graceful Movements and Flawless Execution: Exciting Dance Covers

We bring to you a selection of recently released covers of wonderful, entertaining dance choreographies delivered with perfection!

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Dancers

Dance performances, when executed with perfection, enrapture the viewer with all the emotions and feelings of the dancer, who manages to depict them with only movements and expressions. We bring to you covers that do exactly that and more! These performances are a perfect blend of talent and passion with the dancers’ excellent execution of graceful, technical-yet-fun choreographies.

Tejas Dhoke & Ishpreet Dang 

Ishpreet and Tejas give a perfect modern touch to the 2000s-famed Bollywood song, ‘Chunari Chunari’ in their freestyle choreography. Adding to it a touch of their own unique style and delivering it with boatloads of energy and expression, their rendition of the song is as fun to watch as it must have been to perform! 

Credit: Youtube (Dancefit Live)

Jainil Mehta

Jainil Mehta in this performance makes A R Rahman’s beautiful song ‘Arziyan’ come alive. The semi-classical choreography is brilliantly performed, coupled with the perfect costume and lovely backgrounds. The technicality of the steps is simplified in their effortless execution by Jainil in the video. It oozes with elegance and fits the song flawlessly in all measures! 

Credit: Youtube (Jainil Mehta)

Team Naach 

This pretty little dance cover by Team Naach is on Dhvani Bhanushali’s ‘Nayan’. The trio looks stunning as they dance, perfectly synchronised to the catchy and fun beats of the song. All their movements and expressions are clad in a graceful style that hallmarks the cover as a very pleasing performance. 

Credit: Youtube (Team Naach)

Natya Social 

Vinayak Ghoshal and Chinmay Khedekar reach for a goal beyond dance in this sitting-choreography on Alka Yagnik and Arijit Singh’s ‘Agar Tum Saath Ho’. Beautifully conceptualised and delivered, they capture the rhythm of the lovely song by the movements of their hands and the expressions of their faces. A feat in itself, it is meant to be a very moving performance!

Credit: Youtube (Natya Social)
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