Board 1: Know the Artist
Anupama Srivastava:
Anupama Srivastava is a renowned Kathak dancer, teacher, and choreographer. Founder of InSyncKathak Dance School, she trained under Padmashri Guru Shovana Narayan. Known for rhythmic virtuosity and graceful movements, her choreographies have garnered acclaim worldwide. Anupama is a Master Artist and grant recipient from the Pennsylvania Council on the Arts. Her students achieve national recognition, and she collaborates across genres. With engineering degrees and a Silicon Valley career, she balances her passion for dance.
inSyncKathak:
Anupama Srivastava leads InSyncKathak Dance School, renowned for prestigious performances worldwide. Notable appearances at Carnegie Hall, YoungArts Week, and international festivals. InSyncKathak students excel, including National YoungArts winners Vyoma Bhanap, Saanvi Ranadive, and Reva Srivastava. Embracing Lucknow Gharana style, they express, explore, and collaborate for cultural diversity.
Anupama Srivastava is a renowned Kathak dancer, teacher, and choreographer. Founder of InSyncKathak Dance School, she trained under Padmashri Guru Shovana Narayan. Known for rhythmic virtuosity and graceful movements, her choreographies have garnered acclaim worldwide. Anupama is a Master Artist and grant recipient from the Pennsylvania Council on the Arts. Her students achieve national recognition, and she collaborates across genres. With engineering degrees and a Silicon Valley career, she balances her passion for dance.
inSyncKathak:
Anupama Srivastava leads InSyncKathak Dance School, renowned for prestigious performances worldwide. Notable appearances at Carnegie Hall, YoungArts Week, and international festivals. InSyncKathak students excel, including National YoungArts winners Vyoma Bhanap, Saanvi Ranadive, and Reva Srivastava. Embracing Lucknow Gharana style, they express, explore, and collaborate for cultural diversity.
Board 2: What are common Kathak items, and how have you explored them?
A Kathak recital typically begins with a devotional piece, which can be a Vandana, a Bhajan, or a salutation to any deity or spiritual concept. This is followed by a Thaat Aariang piece, a pure Nritta technical piece based on a specific rhythm cycle such as Teentaal, Jhaptaal, or Dhaamar, or any of the different taals commonly used in Kathak. These technical pieces often include elements like Utan, Taat, Amad, Thoda, Thukdas, footwork, and more.
Following this, we move into Nrityang, which is the storytelling part and can take the form of Bhajan, Tumri, Dhrupad, Dhaamar, Holi, or a Ghazal with lyrics that convey specific emotions (bhav). Subsequently, there may be items like Chaturang or other pieces that delve deeper into storytelling.
To conclude the performance, a rhythmic and fast-paced piece like Tarana is often chosen to build up the climax of the evening.
I have explored this art form during the production of my dance dramas, during which I had to recreate items, some of which were conceived and produced by my guru, to suit international audiences, particularly those in the USA. It was crucial to consider the experiences and sensibilities of modern audiences while doing so.
Following this, we move into Nrityang, which is the storytelling part and can take the form of Bhajan, Tumri, Dhrupad, Dhaamar, Holi, or a Ghazal with lyrics that convey specific emotions (bhav). Subsequently, there may be items like Chaturang or other pieces that delve deeper into storytelling.
To conclude the performance, a rhythmic and fast-paced piece like Tarana is often chosen to build up the climax of the evening.
I have explored this art form during the production of my dance dramas, during which I had to recreate items, some of which were conceived and produced by my guru, to suit international audiences, particularly those in the USA. It was crucial to consider the experiences and sensibilities of modern audiences while doing so.
Board 3: How has insync kathak molded them differently.
Anupana shares, "I won't dwell too much on how it is different because the way I have been taught by my guru, Padmashree Shobana Narayanan ji, and the approach she has always followed is to stay very traditional and true to the classicality of the dance form. Therefore, there is no departure from the execution, given the technically complex rhythm content. We remain faithful to the Kathak training that has been passed down through generations.
At the same time, my guru has always incorporated events and topics from our surroundings, presenting various contemporary subjects, some of which were never touched upon in Kathak during her time. This has somehow influenced me and the way I teach. So, we approach the training with the utmost seriousness while keeping the tradition intact. However, we do touch upon topics that may be more relevant to those who have been born and raised in the USA.
In our repertoire, mainly in our storytelling part, we strive to incorporate topics that are relevant to us and resonate with our personal experiences, aspirations, and observations. We aim to include these themes in Nrityang and Natyang, rather than in Taiaariang, especially when recreating dance dramas from the past.'
At the same time, my guru has always incorporated events and topics from our surroundings, presenting various contemporary subjects, some of which were never touched upon in Kathak during her time. This has somehow influenced me and the way I teach. So, we approach the training with the utmost seriousness while keeping the tradition intact. However, we do touch upon topics that may be more relevant to those who have been born and raised in the USA.
In our repertoire, mainly in our storytelling part, we strive to incorporate topics that are relevant to us and resonate with our personal experiences, aspirations, and observations. We aim to include these themes in Nrityang and Natyang, rather than in Taiaariang, especially when recreating dance dramas from the past.'
Board 4: Guru shishya parampara In India and USA
The main idea or feeling behind the guru-shishya parampara is respect. Traditionally, the student shows utmost respect to the gurus, never questions them, and simply learns what is taught to them while being devoted to the art form and their gurus. Over the years, this has evolved, even in India. For instance, my guru strongly believed that the healthiest form of a relationship exists when discussions are open. Nothing should be followed blindly; there has to be logic in dance choreography or in life in general.
I should say I am blessed to have a guru who is traditional and yet open-minded enough to incorporate both aspects: firstly, utmost respect and devotion, and secondly, keeping the channels for dialogue open. These are the guiding principles of the guru-shishya parampara we live by, follow, and execute in the US. I have realized that educating the students about how things used to be done in the past and how things are being done in the present makes it an active choice that they are making.
The guru teaches not only the art form but also many things about life itself, like discipline, hard work, and time management. The students who stick to the dance form over the years have witnessed how the art form has transformed and molded them in many aspects of life.
I should say I am blessed to have a guru who is traditional and yet open-minded enough to incorporate both aspects: firstly, utmost respect and devotion, and secondly, keeping the channels for dialogue open. These are the guiding principles of the guru-shishya parampara we live by, follow, and execute in the US. I have realized that educating the students about how things used to be done in the past and how things are being done in the present makes it an active choice that they are making.
The guru teaches not only the art form but also many things about life itself, like discipline, hard work, and time management. The students who stick to the dance form over the years have witnessed how the art form has transformed and molded them in many aspects of life.
Board 5: Program Info
Participants
Anupama Srivastava
Reva Srivastava (National YoungArts Finalist 2022 and US Presidential Scholar in the Arts)
Vyoma Bhanap (National YoungArts Finalist 2023)
Sia Agarwal
Aditi Bharambe
Arohi Bharambe
Kashvi Rajam
Anandi Pota
Music Credits for all the music used: Padmashri Dr. Shovana Narayan
Choreography: Anupama Srivastava
Items
In this item, the episode of ‘sati – dahan’ i.e. self-immolation of Sati, the first wife of Lord Shiva, is delineated as gat-bhava. The dance climaxes in a dynamic Shiva Tandava paran.
Concept and Choreography is by Padmashri Guru Shovana Narayan and the music has been composed by Pt Indu Prakash.
When these five elements of nature, Aakash, Vayu, Jal, Agni, Prithvi (Sky, Air, Water, Fire, Earth), come together in harmony, life is created. But when any one element becomes more dominant than the others, there is imbalance that leads to devastation and destruction in the form of natural calamities like earthquakes, landslides, lightning storms, tornadoes, hurricanes, floods, drought, and wildfires. The result is widespread suffering. Eventually, time is the biggest healer, and the same Kaal-Chakra (the time-cycle) that caused the devastation finally restores the delicate balance of nature, and life is recreated.
As a human race, let us do our part to restore the balance of nature so that we leave behind a beautiful, bountiful, and livable planet for our future generations, one where they can enjoy the beauty and wonder of all the five elements for centuries ahead.
Panchatatva is a classic choreography of Padmashri Guru Shovana Narayan that was staged in the early 1980s. The music is by Sangeet Natak Akademi awardee Late Pandit Jwala Prasad ji. Having lived in California for the last 27 years, and having experienced earthquakes, landslides, drought, flash-flooding due to excessive rain, lightning storms, wildfires and poor air quality: the manifestations of various imbalances of these 5 basic elements of nature (aakash, vayu, jal, prithvi, agni), I was inspired to revive and present my interpretation of this timeless choreography that ends with a thought-provoking call to action for the human race to do our part in restoring this delicate balance of nature. This item was taught to the InSyncKathak dancers during the pandemic entirely online, in the shadow of the raging wildfires in 2020 that burned dangerously close to home for most of these dancers. This gave them an entirely personal perspective of imbalances caused by climate change.
This item extends to Shringar, a dance marked by graceful movements, languorous yet with concealed controlled energy, so much a hallmark of womanhood and femininity. It is set to Raag Hameer, Rupak taal (cycle of 7 beats).
Music Composition: Guru Shovana Narayan and Pandit Madho Prasad
Since time immemorial, people have been yearning for peace. But this state of peace stays elusive until each one of us internalizes the doctrines of Good Thoughts, Good Words and Good Feelings towards one another, and makes “Peace” one with our souls or “antar-aatma”.
This item is set in Raag Bairagi and showcases several nritta elements of Kathak like Tipalli Aamad Paran, Natwari Tora, Paran, Tukra, Lari and Tihai. Music Composition is by Pandit Madho Prasad.
Infused with Vedic Shlokas, this dance is the yearning of peace-loving souls everywhere!
OM SHANTI-hi SHANTI-hi SHANTI-hi!
Music Composition: Guru Shovana Narayan and Pandit Madho Prasad
Concept and Choreography : Reva Srivastava
This quintessential Tarana popular among generations of Lucknow Gharana Kathak dancers explores how the merging of two cultures in medieval India brought new social norms and practices that found reflection in the art, music and dance traditions of the time. Although a tarana is usually a pure nritta (rhythmic) piece devoid of any story-telling, this choreography speaks about a story of assimilation and evolution of the Kathak dance form itself, as it metamorphosed from a pure devotional form to a form of entertainment, and traveled from the temples to royal courts to concert halls over the centuries.
Videos
Rudrashtakam
https://vimeo.com/825551638/8af72b3757
Om Shanti : The Dance of Peace (9 min) - Group of 5
https://youtu.be/xAfTPxQVUMM
Panchatatva
Video : https://youtu.be/SovF8Yk80DQ
Solo Anupama : Aangikam
https://youtu.be/pje449s7IXk
Group : Thunga Thunga
https://youtu.be/QIukXR5RQcE
Group : Tarana Raag Charukeshi
https://youtu.be/PtzjrwQzMFI
Anupama Srivastava
Reva Srivastava (National YoungArts Finalist 2022 and US Presidential Scholar in the Arts)
Vyoma Bhanap (National YoungArts Finalist 2023)
Sia Agarwal
Aditi Bharambe
Arohi Bharambe
Kashvi Rajam
Anandi Pota
Music Credits for all the music used: Padmashri Dr. Shovana Narayan
Choreography: Anupama Srivastava
Items
- Rudrashtakam - Solo by Anupama Srivastava
In this item, the episode of ‘sati – dahan’ i.e. self-immolation of Sati, the first wife of Lord Shiva, is delineated as gat-bhava. The dance climaxes in a dynamic Shiva Tandava paran.
Concept and Choreography is by Padmashri Guru Shovana Narayan and the music has been composed by Pt Indu Prakash.
- Panchatatva - The Five Elements of Nature
When these five elements of nature, Aakash, Vayu, Jal, Agni, Prithvi (Sky, Air, Water, Fire, Earth), come together in harmony, life is created. But when any one element becomes more dominant than the others, there is imbalance that leads to devastation and destruction in the form of natural calamities like earthquakes, landslides, lightning storms, tornadoes, hurricanes, floods, drought, and wildfires. The result is widespread suffering. Eventually, time is the biggest healer, and the same Kaal-Chakra (the time-cycle) that caused the devastation finally restores the delicate balance of nature, and life is recreated.
As a human race, let us do our part to restore the balance of nature so that we leave behind a beautiful, bountiful, and livable planet for our future generations, one where they can enjoy the beauty and wonder of all the five elements for centuries ahead.
Panchatatva is a classic choreography of Padmashri Guru Shovana Narayan that was staged in the early 1980s. The music is by Sangeet Natak Akademi awardee Late Pandit Jwala Prasad ji. Having lived in California for the last 27 years, and having experienced earthquakes, landslides, drought, flash-flooding due to excessive rain, lightning storms, wildfires and poor air quality: the manifestations of various imbalances of these 5 basic elements of nature (aakash, vayu, jal, prithvi, agni), I was inspired to revive and present my interpretation of this timeless choreography that ends with a thought-provoking call to action for the human race to do our part in restoring this delicate balance of nature. This item was taught to the InSyncKathak dancers during the pandemic entirely online, in the shadow of the raging wildfires in 2020 that burned dangerously close to home for most of these dancers. This gave them an entirely personal perspective of imbalances caused by climate change.
- Thumri and Shringar
- By Anupama & Reva Srivastava
This item extends to Shringar, a dance marked by graceful movements, languorous yet with concealed controlled energy, so much a hallmark of womanhood and femininity. It is set to Raag Hameer, Rupak taal (cycle of 7 beats).
Music Composition: Guru Shovana Narayan and Pandit Madho Prasad
- Om Shanti : The Dance of Peace
Since time immemorial, people have been yearning for peace. But this state of peace stays elusive until each one of us internalizes the doctrines of Good Thoughts, Good Words and Good Feelings towards one another, and makes “Peace” one with our souls or “antar-aatma”.
This item is set in Raag Bairagi and showcases several nritta elements of Kathak like Tipalli Aamad Paran, Natwari Tora, Paran, Tukra, Lari and Tihai. Music Composition is by Pandit Madho Prasad.
Infused with Vedic Shlokas, this dance is the yearning of peace-loving souls everywhere!
OM SHANTI-hi SHANTI-hi SHANTI-hi!
- Tarana in Raag Kalavati
Music Composition: Guru Shovana Narayan and Pandit Madho Prasad
Concept and Choreography : Reva Srivastava
This quintessential Tarana popular among generations of Lucknow Gharana Kathak dancers explores how the merging of two cultures in medieval India brought new social norms and practices that found reflection in the art, music and dance traditions of the time. Although a tarana is usually a pure nritta (rhythmic) piece devoid of any story-telling, this choreography speaks about a story of assimilation and evolution of the Kathak dance form itself, as it metamorphosed from a pure devotional form to a form of entertainment, and traveled from the temples to royal courts to concert halls over the centuries.
Videos
Rudrashtakam
https://vimeo.com/825551638/8af72b3757
Om Shanti : The Dance of Peace (9 min) - Group of 5
https://youtu.be/xAfTPxQVUMM
Panchatatva
Video : https://youtu.be/SovF8Yk80DQ
Solo Anupama : Aangikam
https://youtu.be/pje449s7IXk
Group : Thunga Thunga
https://youtu.be/QIukXR5RQcE
Group : Tarana Raag Charukeshi
https://youtu.be/PtzjrwQzMFI