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Hans India
07-07-2025
- Entertainment
- Hans India
Tanusree Shankar to light up Hyderabad stage with ‘Monsoon Dreams'
Hyderabadis set to witness an evening of expressive dance and cultural splendour as legendary dancer-choreographer Tanusree Shankar brings her celebrated production, Monsoon Dreams, to the city. Presented by Chowrangee, a growing platform for the arts in Hyderabad, the performance will take place on July 26, 2025 at the historic Taramati Baradari. Monsoon Dreams is more than just a dance show—it's a poetic tribute to the season of renewal. Through evocative choreography and visual storytelling, the production captures the rhythms of the monsoon, the emotions it stirs, and the eternal cycle of longing, loss, and hope. Drawing from Indian classical traditions and infused with contemporary flair, the performance promises an immersive sensory experience for audiences. At the heart of the evening is Tanusree Shankar, an icon of contemporary Indian dance and the artistic director of the Tanusree Shankar Dance Company. A pioneer in her field, she carries forward the Uday Shankar legacy, blending Indian classical and folk dance with elements of Western movement. Her company has performed in over 40 countries, earning acclaim for productions that are as intellectually rich as they are visually stunning. Recipient of the Sangeet Natak Akademi Award and the Woman of Excellence Award by FICCI, Tanusree Shankar's work bridges cultures and generations. Monsoon Dreams, like much of her repertoire, explores the universal human spirit through dance—rooted in heritage, yet constantly evolving. The evening is hosted by Chowrangee, a Hyderabad-based initiative by the Bengal and Beyond Foundation, committed to fostering cross-cultural dialogue through theatre, music, dance, and visual arts. Inspired by Bengal's cultural ethos, Chowrangee creates inclusive spaces for meaningful artistic experiences, aiming to bridge India's diverse communities through creativity. With Monsoon Dreams, Chowrangee continues its mission to offer high-calibre performances that engage, inspire, and bring together audiences through shared artistic expression.


Indian Express
05-07-2025
- Entertainment
- Indian Express
Hidden stories: how a reluctant performance paved way for Jyotsna Bhole to become a trailblazing Marathi actor
In July 1933, a radical piece of Marathi theatre was staged in Mumbai. Andhalyachi Shala (School for the Blind) was a vehicle for a group of intellectuals to cast a woman as a lead to oppose men playing women's roles in theatre. It was written by S V Vartak and produced by the group Natya Manwantar, whose member Keshav Vaman Bhole, better known as Keshavrao Bhole, was an eminent Marathi music director and critic. He had had only one woman in mind to play the lead, his wife and vocalist Durga Kelkar who came to be known as Jyotsna Bhole after their marriage. 'When my father asked her, she firmly said she wasn't interested… She wouldn't dream of diverting from her music,' says Vandana Khandekar, the couple's daughter. At Keshavrao's urging, Jyotsna took up the lead role – becoming a pioneer among women theatre actors. 'At the show's opening, the audience showed up with bhajjis in both hands, ready to haul these at the actors to show their disapproval. However, they saw the whole play without making a sound. They congratulated my mother and she loved the bhajjis so much, she ate everything the audience brought,' says Vandana. 'She could learn everything by ear' An exponent of Hindustani classical music and an eminent singer-actor, Jyotsna Bhole, whose death anniversary is on August 5, was a trailblazer. Her journey to winning the Sangeet Natak Akademi Award and the Lata Mangeshkar Award, however, started from the small village of Bandivade in Goa where she was born on May 11, 1914, as one among 14 children. The musical heritage of her surroundings as well as her siblings' performances turned her towards the art form from an early age. 'When her sisters practised, she would sit and listen. She could learn everything by ear. It was her elder sister, Girijabai, who recognised her talent and brought her to Mumbai, where both girls trained under Vilayat Hussain Khan and later Khadim Hussain Khan of the Agra Gharana,' says Vandana. Jyotsna quickly rose to fame through school competitions and was invited to perform at the British Broadcasting Service Radio. After Class 4, she left school to dedicate herself to music. Hooked on Keshavrao Bhole's songs During the 1930s, Keshavrao was an up-and-coming musician and playwright in Mumbai's cultural scene, especially talented in bhavgeet music – a light classical form that blends poetry and music. 'The songs impressed Jyotsna and drove her crazy! It was something she had never heard before, and she was keen to learn them,' says Vandana. When Keshavrao was finally convinced to teach Jyotsna, it was the start of a relationship that would last a lifetime. They married in 1932, when Jyotsna was 18. The couple had four children, Kishor, Suhas, Anil, and Vandana. After her first play, Andhalyachi Shala, Jyotsna refused to act again, choosing to focus on her music and family. It was not until eight years later that she would return to theatre. When Keshavrao produced and directed a play, he encouraged Jyotsna to be his heroine. Stepping back into the shoes of an actor in 1941, she witnessed peak fame a year later, through her role in Kulavadhu, a play inspired by Norwegian playwright Henrik Ibsen's A Doll's House. 'She toured the country extensively. Keshavrao told her to pursue her passion and make a name. He promised to stay at home and take care of the family,' says Vandana. By the time Jyotsna left the state in the 1960s, she was among the most sought after singer-actors. Jyotsna takes the lead Despite her limited education, Jyotsna was inspired by her husband's works and wrote, composed, directed and acted in her musical, Aradhana. She published a letter book, Antarichya Khuna, composed of letters she had written to her daughter as she travelled to Britain and Europe, performing in places like London, Paris, and Germany without speaking much English. In 1988, her touching autobiography, Tumchi Jyotsna Bhole, was released in Marathi. At home, Jyotsna insisted on being the regular parent who was involved in her children's upbringing. 'Every Diwali, she would insist on making each sweet herself. Every birthday, she would throw parties for our friends,' Vandana recalls. The Jyotsna Bhole Swarotsav, a music festival held in her memory since 2008, saw its 14th edition hosted on June 26-27 this year. 'We celebrate the work she did for the Marathi Sangeet Rangabhoomi,' says Adhish Paigude, an organiser. The festival, which features musicians and artists inspired by Jyotsna, is organised by the Srujan Foundation and Nanded city. This year's artists include Kalapini Komkali, Jayateerth Mevundi, Shounak Abhisheki, and Yadnesh Raikar. 'To pay tribute at her festival with my violin means so much,' says Raikar, as Komkali adds, 'Without her songs, the morning never felt complete.' Antara Kulkarni is an intern with The Indian Express.


Time of India
18-06-2025
- Entertainment
- Time of India
‘Her loss is irreplaceable': Dance fraternity pays tribute to Kathak guru
Kathak dancer and guru Mangala Bhatt (62) passed away on Monday. She died at 12 pm at a hospital in Hyderabad. The news came as a shock to her fans, fellow dancers, family, and friends, who expressed their grief and remembered her contributions to the world of dance. Mangala, along with her husband Raghav Raj Bhatt, founded Aakruti Kathak Kendra in Hyderabad in 1990. The institute has trained thousands of students in Kathak over the years. In recognition of their contribution to Kathak, both were honoured with the Sangeet Natak Akademi Award for 2019. Mangala receiving the Sangeet Natak Akademi Award (2019) from President Droupadi Murmu;(right) Kathak duo Mangala and Raghav Raj Bhatt, a couple both on and off stage. 'It is a huge loss as she promoted Kathak in Hyderabad for so many years. We worked together on many collaborations and had met just last month at a dance workshop in IIT Hyderabad. She was a strong lady. I pray that God gives strength to her family and students.' — Deepika Reddy, dancer 'My deepest condolences. Mangala ji was a wonderful dancer and choreographer who took Kathak to new heights. Her passing is a great loss to the fraternity.' — Mamidi Harikrishna, Director of Language and Culture, Telangana 'It is very sad. We grew up together and she was a good friend and a wonderful guru. Mangala passed away too early. She was one of the prominent figures who brought Kathak to Hyderabad and nurtured it with passion and dedication. Her loss is a big one for the dance community.' — Ananda Shankar Jayant, dancer


Hans India
18-06-2025
- Entertainment
- Hans India
Mangala Bhatt's legacy lives through dance
Senior Guru Mangala Bhatt was the doyen of Kathak dance in Hyderabad. Her untimely passing in the early afternoon of June 16, 2025, at the age of a little over sixty, due to a serious illness which she battled courageously—having recently conducted a workshop for SPIC MACAY—has left a void that cannot be filled. Hers was a life devoted wholly to the service of art, to the very last breath. Among the senior-most members of the classical dance fraternity in the Twin Cities, her contribution to the field of Kathak in Hyderabad was unparalleled. Kathak and her name were synonymous. She was the senior disciple of Pandit Durga Lal of the Jaipur Gharana, whose memory she held in utmost reverence. In his honour, she instituted an annual festival that brought guest artistes from across India. She was the director, curator, and host of the Antarang Music and Dance Festival. Her immense contributions were recognized through countless awards, the most prestigious being the Sangeet Natak Akademi Award in 2019. She was also the founding director of Aakruti Kathak Kendra, where her students were nurtured with care and loving discipline. Her students were rigorously corrected when needed, but always in an atmosphere of care. Even the youngest felt free to speak up in class if they had doubts. This critic recalls visiting her classes, where the sheer number of students could have overwhelmed any teacher—but not her. Her limitless capacity for dedicated focus and attention ensured each student was under her keen gaze and was molded accordingly. Her entire day revolved around her students. Her main goal was to continually expand her vast knowledge and repertoire and pass it on to the next generation. Many vocalists and orchestra members groomed by her have become solo artists in their own right, adding great value to the cultural scene. A gracious host and always impeccably dressed with a superb sense of style, her residence was filled with exquisite artefacts collected from tours across India and abroad. These artefacts were fascinating reflections of her aesthetic sensibility. 'Kathak is not just about chakkars, there is much more to it,' she would often say. Her technique and hastaks were inspired. Her group productions featured gossamer costumes in breathtakingly refined colour palettes, adding a rainbow richness to the stage. Her abhinaya was nuanced and mature, marked by innate precision. In her creative explorations, she combined Kathak with diverse art forms—jazz drums, flamenco, ballet, painting, and more. Born in Kolhapur, Maharashtra, she met her life partner and fellow Kathak artist, Raghav Raj Bhatt, while training in Delhi at Kathak Kendra. He was a senior disciple of the legendary Pandit Birju Maharaj. Together, they brought a rare confluence of Jaipur and Lucknow gharanas to their artistic endeavours. They were blessed with a son, Madhav. Under her direction, students collaborated with William Dalrymple for the BBC, and she trained many well-known film artists in Kathak. Her recitals at the magnificent Chowmohallah Palace, under sparkling chandeliers, remain etched in memory. One of her celebrated performances was a jugalbandi titled 'A Confluence of Bharatanatyam-Kathak', performed nearly a decade ago with renowned Bharatanatyam artiste Dr. Rajeswari Sainath. Accompanied by live Hindustani and Carnatic orchestras, the performance was hailed for its harmony and authenticity. Tributes from senior colleagues and fellow artistes: Dr. Ananda Shankar Jayant, eminent Bharatanatyam and Kuchipudi dancer: 'Gone too soon! Immensely sad as a brilliant artiste merges into Nataraja. Ever-smiling, graceful, she ploughed through a rare illness with grit and strength.' Dr. Rajeswari Sainath, renowned Bharatanatyam exponent 'A huge loss. I remember sharing memories of our dance journeys during our jugalbandi partnership. A warm person filled with passion for dance. May she rest in peace.' Deepika Reddy, senior Kuchipudi dancer: 'Carrying herself with remarkable dignity, with unwavering strength and courage in the face of many challenges. Met her just a few weeks ago at a workshop where she addressed me with affection. Her legacy will continue to live through the lives she touched.' Prof. Anuradha J Tadakamalla, senior Kuchipudi dancer and academician at University of Hyderabad: 'Her name brings to mind a serene face with a smile full of compassion and love. A torchbearer of Pandit Durga Lal's legacy. Shocking to see her leave this world so soon. Praying for her sadgati.' Dr. Alekhya Punjala, senior Kuchipudi dancer and chairperson of Telangana Sangeetha Nataka Academy: 'A loss I cannot express in words. Will always remember her fondly as someone very dear to me.' Prof. Aruna Bhikshu, senior Kuchipudi dancer and academician at University of Hyderabad: 'She enriched our dance landscape with authentic depth. Her dynamic teaching style—of which her smile was as much a part as her taal and footwork—made Kathak both sacred and accessible. As a friend and colleague, her presence as an artiste and human being was a gift I will always treasure.' Harini Rao, Hindustani Classical Vocalist: 'Mangala ji was an absolutely graceful and gentle human being, alongside being an exceptional artiste. The first time I met her, she asked me to sing, and she was so sensitive to sur and lyrics that she was moved to tears. I was fortunate to collaborate with her on multiple occasions, and each time was a delight. My heart goes out to her entire student community—a world she built on love, discipline, and grace. She will definitely be missed, but will be fondly remembered by generations of Kathak students she has nurtured.'


New Indian Express
23-04-2025
- Entertainment
- New Indian Express
Kathak keeps you swasth and swachh: Pandit Rajendra Gangani
With every beat, Pandit Rajendra Gangani's dazzling footwork, elegant hasthaks (hand movements), and deeply emotive abhinaya (expressions) left the audience in sheer awe. His stage presence is nothing short of mesmerising, with each movement reflecting the soul of Kathak itself. As one of the foremost exponents of the Jaipur Gharana style of Kathak, Pt Rajendra has carved a unique space in the classical arts. After his unforgettable performance at the spectacular one-day festival of ghazals , music, and dance, presented by Chowmahalla Palace in association with Parichay Arts Foundation, he sat down with CE to share insights into his journey, art, and the spirit that drives him. Excerpts How did you feel performing at Chowmahalla Palace? Every time I dance, I strive to become a medium that connects the audience to something deeper — something spiritual. I want them to forget everything else and simply lose themselves in the rhythm, the expressions, the music. After a performance at Chowmahalla Palace, a few people came up to me and said they had tears in their eyes while watching me. Moments like that are truly special. If my performance makes someone laugh, cry, or feel any emotion at all, it means I've impacted them in the right way. At the age of four, you began learning Kathak from your father, Pandit Kundanlal Gangani. Can you tell us about your journey? People used to come to our home to learn Kathak from my father. I would watch them intently — my eyes full of curiosity and interest. Before long, I found myself standing beside them, mimicking their gestures. My father saw a spark in me and began to teach me. He wasn't just my father; he was my guru . That's why I've always called him guruji , not papa . My mother supported me wholeheartedly as well. If my father taught me something, she would ask me to show it to her while she was in the kitchen. That encouraged me to practice even more. Until I turned 19, life felt carefree — my father took care of everything at home and continued teaching Kathak. But everything changed the day he passed away. Suddenly, I had to take on all those responsibilities. I had to work twice as hard. I would wake up at 4 am, practice tirelessly and teach Kathak. Even at night, I continued practicing. That phase became a major turning point in my life. My breakthrough came when I performed at a festival called Sharad Chandrika . The audience was amazed — some even said a 'rockstar' had entered the world of Kathak. (laughs) In 1996, I performed in Sweden. Since most people there didn't know what Kathak was, they compared the quick footwork to Michael Jackson's style and began calling me that! Of course, one of the most cherished moments of my journey was receiving the Sangeet Natak Akademi Award in 2003 from Dr APJ Abdul Kalam. It has truly been an eventful and fulfilling journey. Any pre-performance rituals? Even though I still wake up at 4 am and practice diligently, I don't warm up or rehearse right before a performance. I simply step onto the stage and begin. Unlike in Western dance forms, the first few steps in Kathak serve as a natural warm-up. But there is one ritual I always follow: I close my eyes and say to my guru , 'Ab main jaa raha hoon, aap lekar aayenge' (I'm going to perform now — it's you who must guide me). I am the body; guruji is the soul. Can anyone learn Kathak, or is it a talent you're born with? Absolutely — anyone can learn Kathak! Classical dance forms like Kathak are meant for everyone, regardless of age or gender. It's not something you have to be born with; it's something you cultivate with dedication, passion, and practice. Kathak is still considered by many to be a 'feminine' dance form. What are your thoughts on this? Yes, that mentality still exists in some circles. But I'm completely at ease with my identity as a male Kathak dancer. I proudly maintain my mustache — it's a part of who I am — and at the same time, I perform the most graceful movements with confidence. In Kathak, male dancers often portray a wide range of characters, including female ones. But what we express on stage is part of the performance — it's art. It doesn't define who we are off stage. I teach many male dancers, but I don't believe in giving them advice through words. Instead, I lead by example. I show them the steps, demonstrate the discipline, and focus on helping them perfect their craft. How can we encourage more people to learn Kathak? Education and awareness are key. Parents and educational institutions should take steps to introduce children to Kathak. It's not just a dance form — it's a powerful art that nurtures the body, mind, and soul. By showcasing its depth, grace, and cultural richness, we can inspire more people to explore it. Kathak keeps you swasth and swachh!