Aug 162012
 
Photo of Scandic Hotel Grand Place, Brussels

Scandic Hotel Grand Place, Brussels – photo courtesy of TripAdvisor

Whenever I have had to travel for a performance, someone else has taken care of the travel and accommodation arrangements for us. As a result, I have had a lot of experience of different standards of accommodation being provided. I also know how important it is for the peace of mind of the performers, and for a good performance, that these practical arrangements are carefully sorted out, ideally well in advance.

Today, I booked the accommodation for all four of our visiting singers and musicians for The Story of Gitanjali. I thought they should stay somewhere close to the Gold Hall. This would make the travel arrangements within Brussels much simpler and would also allow them to be within a short walk of the main places to visit while they are in Brussels.

I had thought that renting a large apartment for their visit would be easiest but then discovered that hardly any holiday rental apartments in central Brussels offer so many bedrooms or have more than 2 bathrooms. This didn’t seem like it would be a good idea.

So, to make things simpler for us and for our artists, I found a hotel within a short walk of both the Grand Place and the Gold Hall where each of them have their own room with attached bathroom. The hotel has been highly rated by people who have stayed there and, thanks to a special offer, is less expensive than renting a large apartment would have been.

Enrique in Galicia

We were pleased to hear that our friend and Chitrangada associate producer Enrique Nicanor will be coming to Brussels for the premiere. He has kindly agreed to stay with our artists to help them during their visit.

Judy, who loves all things Indian

Another friend, Judy Stowe, has kindly offered to help us, including joining us to meet the artists at the airport and dropping them back.

In the coming days, I’ll need to prepare a timetable for the weekend so that we and the artists know when and where they should be during their stay in Brussels.

Oct 012011
 

Kaberi dancing, age 7

Let your life lightly dance on the edges of Time
like dew on the tip of a leaf.

Rabindranath Tagore, 1915 (from The Gardener – poem 45)

When I was a child of 3, before I started to take dance lessons, my dancing was just an expression of happiness. I didn’t necessarily understand the meaning of the lyrics but I would dance to the rhythm of the music.

Gradually, as I grew older and developed my dancing skills, as well as my understanding of the lyrics, I started to express the meaning of the songs in my dancing. This was helped considerably by the compulsory dance classes at my school (Patha Bhavana, Santiniketan) from the age of 6.

Pure dance without expression is also possible. To distinguish it from expressionist dance, Bharat Muni’s Natya Shastra gave it the name ‘nritto‘. According to this treatise, nritto was born much later than expressionist dance (nritya).

There are some forms of art which can stand alone, without containing any expression. These include designs (alpona), musical scales (taan) and dance steps (such as adavus in Bharatanatyam).

Apart from being mainly a poet, Tagore was also a musician. He had learned Indian classical music since childhood. However, he never liked pure classical music without expression.

So, when setting his words to music to create songs, he didn’t apply the pure classical ragas directly but adapted them in his own way to bring out the expression of his lyrics.

Similarly, in the case of dance, Tagore preferred expressionist dance to pure dance steps. In this case, perhaps he followed the same line of thinking as Bharat Muni. Bharat Muni put more emphasis on nritya than on nritto, probably because he wanted to use nritya as a medium for drama.

In novels, poetry and plays, the author’s main role is to express his or her thinking in the form of words. This type of art typically combines art and expression to form the message of the author.

Tagore had always enjoyed drama and plays. His main objective was to find ways of expressing his poetry better. Having first used music to achieve this, he felt that the medium of dance could be used to enhance the expression of his songs. His final artistic achievement, in the last decade of his life, was to combine the three dimensions of songs, drama and dance in his dance-dramas, Chandalika (1933), Chitrangada (1936) and Shyama (1939).

Sep 112011
 

Kaberi

Thou hast made me known to friends whom I knew not.
Thou hast given me seats in homes not my own.
Thou hast brought the distant near and made a brother of the stranger.
I am uneasy at heart when I have to leave my accustomed shelter;
I forgot that there abides the old in the new, and that there also thou abidest.
Through birth and death, in this world or in others,
wherever thou leadest me it is thou, the same, the one companion of my endless life
who ever linkest my heart with bonds of joy to the unfamiliar.
When one knows thee, then alone there is none, then no door is shut.
Oh, grant me my prayer that I may never lose
the bliss of the touch of the One in the play of the many.

Rabindranath Tagore, 1911

That is exactly how I feel as I sit down to write my first ever blog post. It is only possible for a great poet like Rabindranath (Nobel Prize for Literature, 1913) to explain it in this way. It is amazing how Rabindranath managed to express the different feelings of human life.

Rabindranath has had a major influence on my life. Very often I look to his words to express my feelings.

I grew up in his home town of Santiniketan – “the abode of peace.” My grandfather Shibdas Roy joined the school set up by Rabindranath in Santiniketan. He was a very good singer and a musician. Thanks to his singing, he was one of Rabindranath’s favourite students. He became an honorary teacher at the China Bhavan, teaching English to Tibetan monks.

Later on, my father also joined Rabindranath’s school.

Years later still, it was my grandfather who took me along and enrolled me in Rabindranath’s school. I was lucky enough to grow up in such a wonderful, artistic and open air environment.

From time to time, I feel like sharing different things with those around me with similar interests. That’s why I decided to start this blog.

People often ask me about Tagore dance, Manipuri dance, our Tagore dance film trilogy, Indian cooking and my Indian dance workout. However, I don’t usually have the opportunity to give a complete answer. I hope my blog will provide at least more of the answer.

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