A Piece of India in Manila!!: A Spectacular Night of Classical Dance, Music, and Food!

- November 10, 2019, Sunday.

- It is always a delight whenever I get to attend Indian events all around Metro Manila, since I feel that I am getting in touch with my past life, at least, if you believe in that sort of thing. Kidding aside, these events give me more chances to interact with the cultures of India and of course, the members of the Indian community as well. This time, I was once again invited by Natya Mandala to attend a solo Bharatanatyam dance performance, held in RCBC Plaza.

- Natya Mandala is the premier and currently the only Indian classical dance school in the Philippines. Its founder and teacher, Mrs. Shanti Sreedhar, is an award-winning Bharatanatyam and Kuchipudi dancer. Bharatanatyam is one of India's oldest dances, dating a few thousand years young, and is known for its extensive dance vocabulary expressed mainly through its hand gestures or mudras. Though originating in South India, the Bharatanatyam is well-loved by many Indians outside the region, and is studied by Indians in and out of India, as well as other non-Indian enthusiasts.

Mrs. Shubra Chatterjee, our emcee for the night.

Opening the event by lighting the candles/lamps.

The statue bears the image of Shiva Nataraja, which is Shiva's incarnation as the "Lord of the Dance."

H.E. Jaideep Mazumdar, the ambassador of India to the Philippines.

- This particular solo dance performance featured young Somya Duggal, the 22nd student of Natya Mandala to perform an "Arangetram" in the dance school's history. This was my second time to witness an Arangetram, and it was such an honor to be part of Natya Mandala's and Somya's milestone. I wrote about my first Arangetram last year (click here); allow me to lift a few lines from my previous Arangetram post to explain what an Arangetram is: "[a]n "Arangetram," which means "ascending the stage," is a kind of rite of passage ceremony in the world of Indian classical dance. It is a debut solo performance by a disciple; think of it as the solo performances students of music conservatories do, or solo exhibits that art students organize before they graduate [...] Once the student or disciple has successfully done this performance, the student "graduates" a level and can actually perform by themselves. However, in order for them to professionally teach or choreograph, they have to continue learning and understanding other principles and nuances of the dance form. They must learn other forms of "margams," or the traditional path of the Bharatanatyam repertoire; it is a course or a set in which several Bharatanatyam numbers are arranged in a particular way." For Somya, it took 9-10 long years of hard work, dedication, and perseverance, with a dash of color, a pinch of radiance, and heaps of spirit before being able to have her own Arangetram!!

Poster!

- As an Arangetram being staged in the Philippines is also an honor of the Indian community, the performance was attended by important people from the Indian community and friends of India, such as H.E. Jaideep Mazumdar (the ambassador of the Republic of India to the Philippines), Dr. Ramon Acoymo (Program Director of the Cultural Center of the Philippines National Music Competition for Young Artists (NAMCYA); and Member and Chair of the Philippine Commission on Higher Education (CHED) Technical Panel for Music,) and Mr. Diwakar Gupta (Vice-President of the Private Sector Operations and Public-Private Partnerships of the Asian Development Bank). Indian performing arts rarely have their share of the spotlight in the Philippines; by supporting schools like Natya Mandala and encouraging students like Somya, future generations of the Indian community may be encouraged to be torchbearers of culture and pass it down to even younger generations.

A pose from the Mallari, or invocation dance.

Mrs. Sreedhar sits on a small stool at the side of the stage, and plays the beat of the song.

Incredible balance!

- The set of the stage was quite simple - a statue of the Nataraja on one side, and a small stool on the other side, where Mrs. Sreedhar would sit and play the rhythm of the songs. The backdrop, however, was what wowed the audience: Somya's family brought in (an giant image of) the rainbow-painted Meenakshi Amman Temple to RCBC! The Meenaksi Amman Temple is a 13th-century Hindu temple located in Tamil Nadu, the birth state of Bharatanataym. This temple is dedicated to Meenakshi, the fish-eyed incarnation of Parvati, the wife of Shiva.

Larger than life image of the Meenakshi Amman Temple.

Portraying Kali, Parvati's wrathful incarnation. Look at her facial expression!!

A pose from her Jathiswaram number, which is an abstract dance form.

- As per tradition, most of Somya's dances were drawn from Hindu mythology. Those who are familiar with characters and gods from Hindu mythology may be able to recognize certain poses as they portray certain items (ex. flute, trident, big ears, lotus, etc.) or attributes (ex. wrath, playfulness, etc.) closely linked to these characters. I always enjoy watching the Hindu tales I know come alive on stage, especially through the talent of a well-trained artist!

Bharatanatyam costumes always fancy me. Just look at the details front and back, top to bottom!!

Teacher and student.

Shiva Nataraja pose.

What a kick!!

Invoking the divine. This is exactly what I look like when I need divine intervention in my life haha.

Lord Krishna, who is always shown with his flute.

I love the lighting here.

Meenakshi.

- Apart from the Hindu nature of most dances, and the abstract nature of some, it was interesting to know that the dances chosen for an Arangetram usually have something to do with the background of the teacher or the student. The dance numbers performed by the student may be dance routines taught by the teacher's mentor (as a tribute to the mentor of the mentor,) dances with characters or movements that reflect the nature or characteristics of the student, perhaps a certain god followed by the teacher or student, and so on. Sometimes, dances may also be inspired from certain temples and the sculptures found in those ancient temples.

Another Shiva Nataraja pose.

Presenting a token of gratitude to Mrs. Sreedhar.

Paying respects.

The "Thillana," a dance with fast footwork and sculpted poses.

To be a Bharatanatyam dancer, one must be able to show plenty of emotion through the face, apart from movements.

A simple stage with a world created by the dancer.

- After the performance, Somya was given her certificate, and all were invited to have a sumptuous vegetarian Indian dinner at the reception hall. I was able to catch up with my former Hindi teacher, and my former student. The best moment of all? Meeting Somya herself!! I was starstrucked, probably because it was my first time to see a Bharatanatyam dancer up close (with costume and all)!! The funny thing was, when she sat down to have dinner at my table and started talking to her family members and companions, it reminded me that despite the impressive emotional maturity shown on stage, Somya was still a regular kid, one who could do big things.

Awarding! That's Somya's family, with Mrs. Sreedhar and Mrs. Chatterjee. 

Lighting was bad huhu, but this was my attempt to have my photo taken with the image of the Meenakshi Amman Temple.

With my amazing Hindi teacher, Mrs. Goswami!!

With Somya!

With my former student Sparsha.

And of course, none of this would be possible without Mrs. Shanti Sreedhar of Natya Mandala!

- Although the Bharatanatyam performance was the last of a string of activities that I had to attend that Sunday, the Arangetram awakened my tired soul and inspired me to not stop pursuing the arts. I hope that there will be more performances like this and other Indian cultural activities, so the Philippines can get to know India a bit better. After all, both countries are celebrating the 70th anniversary of Philippine-Indian bilateral relations this year, though Philippine and Indian linkages have been around for centuries!!

The Last Minute Saturday Win: Swami Vivekananda's 150th Birthday Anniversary Celebration at RCBC Plaza

- September 14, 2013, Saturday.

- This morning, I attended the Manila International Book Fair at SMX (no photos,) and passed by the Ramakrishna Vedanta Society booth. The lady tending the booth was encouraging people to go to the 150th birthday anniversary of Swami Vivekananda, one of India's reformers, and a popular religious figure who pushed for inter-faith dialogues and tolerance during the late 1800s until his death in 1902. My Hindi teacher invited me earlier this week for this same cultural event, but initially decided not to go because I wanted to have a laid back Saturday, and rest myself; the event was also held at 4-6:30, and at the quite-far-from-my-place RCBC Plaza. I didn't know what came over me, but I somehow decided to attend the event.

- I ate a quick lunch after attending the book fair - which seemed the same as last year and the year before - and rush home to change into a more appropriate attire for the Indian cultural program. I almost flew to RCBC Plaza via LRT/MRT, and arrived with some free time before the main program. I also go to have a photograph with former Philippine president Fidel V. Ramos, who almost crushed my hand while shaking it, and wanted me to do the stomach-in-chest-out posture to not make me look fat. (He's a funny man, and he's the type who jokes around but will keep a poker face while doing it.) His Excellency, Amit Dasgupta, the ambassador of the Republic of India to the Philippines, was also a VIP in the event. I saw my Hindi teacher as well, but I wasn't able to take a photo with her.

- The event started around 4:15, and started with an invocation, a song number, a short film about Swami Vivekananda, and speeches from the VIPs. Swami Bodhasananda, and Swami Medhasananda, both from India, were the ones responsible for the invocation, and were also VIPs alongside the former president and the ambassador.

Swami Vivekanand.

An unlikely photo: a swami from India, a Chinese pretending to be Indian, the former Philippine president, and a representative from the Vedanta Society

Song number.

VIPs.

Hello again Your Excellency. :D:D:D:D

- The main cultural program was shown during the second half of the evening: Natya Mandala's Arpana. The Arpana is a series of dances by the Natya Mandala dance group, and was choreographed by Mrs. Shanti Sreedhar, an award-winning dancer. The Arpana featured Bharatanatyam, one of the earliest and most popular classical dances of India that roots from one of the southernmost states, Tamil Nadu. Mrs. Sreedhar's students from her school, Natya Mandala, are mostly Indians, with some Filipinos, while her students from the UP Filipiniana Dance are mostly Filipinos; Mrs. Sreedhar is affiliated with UP Diliman.

Ganesh Vandana.

Shiva Tandava Strotam.

This number shows Shiva's manifestation as the Ardhanarishvara: half male, half female.

- It was nice to see a Bharatanatyam concert, although my first time to witness a live Bharatanatyam performance was during the Festival of India this February. The Bharatanatyam I saw this evening was "different." since more props and more performers were involved, not to mention more lighting. All the dances were properly introduced and described. The dancers were also great, although I noticed that the members of the UP Filipiniana Dance were too "soft" in executing the Bharatanatyam dance; the Bharatanatyam is labeled as a dance of fire, so some firmness and precision of force is needed. Still, I was in jaw-drop awe with all the colors, sounds, postures, mudras (hand gestures,) and expressions.

Veer Hanuman (a tribute to the monkey-god Hanuman.)

An interesting number, entitled "Messiah."

This number shows the versatility of the Bharanatyam; although it started as a Hindu dance, it could be used to express other faiths as well.

This one's a Christian dance. The one on the spotlight is supposed to be Jesus.

- After the "rangbiranga" (colorful, in all ways possible,) performance, some refreshments were provided. I would call the food "Indian fusion," and I applaud the caterers for not overdoing the fusion, and the Indian taste was still recognizable.

Shivashakti number.

Use of neem leaves.

Whoops!!

Swaranjali dance.

Finale dance: the Gambeera Tamasi.

Final thanks and salutations to the audience and Bhumi, the earth goddess.

With Mrs. Shanti Sreedhar.

- I had a brief visit to Glorietta to buy a tripod before going home. Although it was late, I had no regrets going to the Swami Vivekanand celebration. Not only because I learned more about Swami Vivekanand, and an opportunity to rub elbows with some VIPs (literally,) but more than that, I had an opportunity to witness and get in touch with the Indian culture again -- and of course, all these I did with a kurta and an Indian scarf on me, with my pointy-toed camel-leather juttis.