EVENTS
IGNCA was among the itinerary of visiting Culture Minister of Iran. The senior officials and scholars of IGNCA had an interactive session with his in early March. The minister said he had visited the shrine of Ajmer Sharif. He said the method of worship and the ambience in the shrine were very similar to the Iranian way of prayers. He also said he found several cultural similarities between the people of the two countries. The Indo-Iranian ties go far back. It is point to be noted that one of the earliest translation of Hindu scriptures was into Persian and not in any other language. The IGNCA scholars sought to know a lot of information about Iran relating to religious, spiritual and social aspects. The minister, keen on details visited the Centre’s library and the microfilming unit.
Ms. Kanank Sudhakar, a Bharatnatyam dancer has used the movements of the dance form as a therapy for the nervous system. In a lecture-demonstration at IGNCA (March 24) she explained the therapeutic values of Indian classical dances, with special emphasis on Bharatnatyam. A student of Kalakshetra, Ms. Sudhakar is a qualified pharmacist in a Delhi hospital.
She has delivered several lecture-demonstrations in this field, written a book and is running a small school. She has also established ‘Sunaina’ a society for upliftment of National Arts of India. According to her the movements in Bharatnatyam can sharpen the reflexes of the body and create alertness, not just amongst the elite but amongst slums dwellers as well.
Classical dance is a dynamic yoga with forms of asanas called Kamas, deep breathing with movement and stillness experience. While dancing, the dancer totally involves in the art, the bhava or rasa he or she is depicting. Rhythmic movements in dancing become possible only when the dance tunes to the nadha, laya and bhava required to be manifested at the time. The stillness or dhayana is something inexplicable in words. This is also the reason for the happiness experienced what is described as “Sahaja Aananda” in Shrimad Bhagawatam. The dancer enjoys the aesthetic experience. The mind uses the body-its instrument, to create beauty, Ms Sudhakar said.
These are only some of the benefits that a learner can get by learning the divine art form. What is experienced, enjoyed and benefited by performing should be the rightful property of every child. She noted that a child in rural areas may not be able to get the maximum from her/his dance gurus. Many cannot afford it. She felt that fine arts especially the classical art of dance should be a part of school curriculum as it encompasses this veritable life-giving movement system.
Our ancient heritage and tradition was based on a holistic and symbiotic relationship with nature. Growing demand in the West led to a chemical onslaught and the abuse of nature. This irresponsible attitude led to a conflict between man and nature-both, the sufferers.
Ms. Himani Kapila, an educationist in a lecture (April 19) on ‘Natural Dyes: An Experiential Journey’ discussed, with slides the entire issue. She said a global awakening today on the negative impact of chemical onslaught has helped stop and to some extent reverse this trend. Man is slowly comprehending his eco-responsibility, she said. Ms. Kapila’s specialization is crafts. She is currently, an executive committee member of Delhi Crafts Council. Since 1987 she is actively involved with Natural Dyes.
She laid emphasis on the Indian experience of empowering rural women and getting them back in touch with nature, renewing dye-plants and wherever possible using alternative sources of energy. The need today is for a national apex body, comprising traditionalists, as well as well as technologists to concentrate on efforts in documenting research and findings and publishing them to ensure that it is classified as a ‘public domain knowledge.’ This was necessary to counter ‘patenting’ or creation of ‘intellectual property’ – thereby securing the rights of the traditionalists in rural areas, she said.
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