HT City Delhi Junction: Catch It Live on 26 April 2025
Where: Kiran Nadar Museum of Art (KNMA), 145, South Court Mall, Saket
When: April 26
Timing: 7.30pm
Entry: Free
Nearest Metro Station: Saket (Yellow Line)
A post shared by Anandita Narayanan (@_felicitart_)
What: World Dance Day Festival 2025 | Young dancers festival ft Madhura Bhrushundi (Bharatanatyam) & Dheerendra Tiwari (Kathak)
Where: Multipurpose Hall, Kamaladevi Complex, India International Centre, Lodhi Road
When: April 26
Timing: 6.30pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line)
A post shared by Art Centrix Space (@artcentrixspace)
What: Magic Erase – Solo works of Hemant Gavankar
Where: Art Centrix Space, Jain Farm, Behind Sector D-2, Vasant Kunj
When: April 11 to May 12
Timing: 11am to 6pm
Entry: Free
Nearest Metro Station: Chhatarpur (Yellow Line)
A post shared by G5A (@g5a.culture)
What: Taak by Udit Khurana
Where: Kunzum Books, M-60, Greater Kailash II
When: April 26
Timing: 4pm
Entry: www.eventbrite.com
Nearest Metro Station: Greater Kailash (Magenta Line)
A post shared by Kkrishnan (@kkrishnan_chakraborty)
What: Maalyada – Andal's Sacred Garland – Bhakti Poetry and Dance ft Jeysundhar D (author) & Rama Vaidyanathan (Bharatanatyam)
Where: Kamani Auditorium, 1 Copernicus Marg, Mandi House
When: April 26
Timing: 6.30pm
Entry: Free (For invite, contact: 9810097056)
Nearest Metro Station: Mandi House (Blue & Violet Lines)
What: Divas ke Deevane
Where: The Stein Auditorium, India Habitat Centre, Lodhi Road
When: April 26 & 27
Timing: 7.30pm
Entry: www.bookmyshow.com
Nearest Metro Station: JLN Stadium (Violet Line)
A post shared by Chirag Panjwani (@ichaadhari_naag)
What: Chirag Panjwani Live
Where: The Laugh Store, CyberHub, Sector 24, Gurugram
When: April 26
Timing: 4pm
Entry: www.bookmyshow.com
Nearest Metro Station: Phase 2 (Rapid Metro)
What: India Bar Show
Where: Norman JW Marriott Aerocity
When: April 26 & 27
Timing: 11am to 7pm
Entry: www.indiabarshow.com
Nearest Metro Station: Delhi Aerocity (Orange Line)
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Hindu
a day ago
- The Hindu
IIT professor develops ATAM, a patented and an innovative dance teaching tool
Dance forms around the world are marked by uniqueness, owing to the traditions and cultural contexts in which they have evolved. While efforts have been made to preserve the distinctive character of each, little attention has been towards identifying the universal elements that connect them. It is often said that all forms of music, despite their diversity, can be can be comprehended through the seven notes. What, then, is the equivalent in dance? This basic question, posed by academician and dancer Jayachandran Surendran, led him to explore form-neutral and style-neutral universal fundamentals for dance. Jayachandran's decades of research led to the development of a pedagogical tool aptly named ATAM (meaning 'motion' or 'movement' in Tamil, at a fundamental level), the first of its kind to receive a design patent in India. He explains, 'I observed that three parameters are universally present across all dance forms — postures, transitions between postures, and the rhythm in those transitions. Since my approach is based on the affordability and degree of freedom of each joint in the body, with a special focus on the lower half of the body, the tool can technically be applied to all kinds of movement. Movement is a common thread that runs through human activities such as sports, yoga, martial arts, dance, and theatre.' In Bharatanatyam, the basic unit of movement is called an 'Adavu'. Does Jayachandran attempts to go beyond this foundational element? Interestingly, he points out that the term 'Adavu' is not exclusive to Bharatanatyam; it is also used in traditional Indian martial arts such as Kuthuvarisai and Silambam. He argues that an Adavu is not intrinsically artistic; rather, it is a way of breaking down movement into smaller, functional units for pedagogical purposes. It is the intent of the movement which imports artistry to Adavu. 'Postures are common across various movement disciplines. The fundamentals of the classical dance forms have been assimilated also from the movement knowledge bank of martial arts and yogasana traditions. However, what differs across several movement systems is the transition — what happens between postures. While posture training forms the bedrock of dance learning, transitions are often absorbed through observation.' The ATAM tool, according to Jayachandran, isolates these transitions, and teaches them separately, offering students a more conscious understanding of movement flow. So, how is the ATAM tool designed? To make it child-friendly, Jayachandran mapped six postures onto the six faces of a dice. There are three-coloured dice: black for standing postures, red for half-sitting, and blue for full-sitting. Dice are placed in white holders for on-beat movements and black holders for off-beat. Two dials are used — one indicates foot positions (right, left, both) and transitions (like stamping, placing, turning, sliding, or jumping, each shown by a colour), while the other specifies torso angles in 45-degree increments. These dials too are placed in white or black holders based on beat alignment. The tool is intended primarily for children and beginners in dance to develop dance literacy. Jayachandran clarifies 'When we talk about dance literacy, the goal is not to make someone a professional dancer, but to help those unfamiliar with dance become comfortable with dance movements. Athletic training makes the body literate for movement, even if one does not become an athlete. In the same way, dance literacy involves training the body and mind to overcome unfamiliarity with movement. It is about developing awareness, control, and comfort in one's body through dance — not about performance, but about internalising movement as a language.' In classical dance training, the body is often conditioned to repeat only certain combinations of movements. However, with the ATAM tool, all possible combinations within six basic postures are explored, fostering openness and flexibility in posture practice. 'For children, no movement sequence is considered inherently right or wrong. If a particular combination already exists in a known dance form, we simply acknowledge it and move on. For those that do not have an existing name, we try to name them or inform them if a name already exists. As practice progresses, a two-beat movement may evolve into a three-beat one, and the number of possible combinations grows exponentially, reaching up to six raised to the power of three for a three-beat sequence,' he says. An interesting aspect of this approach is the reversal of traditional classroom dynamics. In conventional dance teaching, the teacher is highly active in planning, while the student's role is more passive. Here, while using the tool it is the opposite — the teacher remains mostly passive, keenly observing, intervening only when necessary. The children stay deeply engaged, often in pin-drop silence, with their attention fully focused on the tool. It becomes difficult to disengage them, as the process stimulates constant thinking. The tool allows for the creation of numerous variations in posture and angle, making it possible to capture the essence of all forms of dance within its framework. In the traditional knowledge system of the Nāṭyaśāstra, the way we read the śāstra often influences how we understand it. For instance, when the Nāṭyaśāstra speaks of five sthanaka postures, we tend to view them as distinct, fixed reference points. However, as a researcher, Jayachandran observes that there are many possible subtle in-between postures that the śāstra-kāras may not have explicitly mentioned, but left the practitioner to posit. He believes it is the responsibility of practitioners to explore and identify these transitional forms. A parallel can be drawn from music — while we are taught there are only seven notes, we know that between two notes lies a rich space for nuanced modulation, as seen in veena playing, where the pulling from one note to another opens expressive possibilities. Similarly, movement from one posture to another in dance involves not just fixed positions, but reference points, functional shifts, and continuous curves. Jayachandran's approach includes identifying 'pivotal index values' to map these transitions — such as naming a movement like Valithoruham as part of a larger curve. Instead of memorising each movement individually, he proposes understanding the frequency range and pattern of the movement like a graph or a curve, making the process more intuitive and less reliant on rote memory. While posturing, transitions, and rhythm are common across all dance forms, the next question arises — can abhinaya also be brought into this framework? Says Jayachandran, 'Training typically involves the anga, upanga, and pratyanga, with focus on both freeze points and transition points. Multiple modules can be developed to train different aspects — pure movement, abhinaya, and musicality. In the current system, pure movement training has been divided into upper and lower body segments. The research primarily concentrates on the lower half, as it forms the foundation of movement vocabulary. Even this area alone is highly complex, with a huge number of probable combinations. The upper body, especially in the context of nritta, remains an area to be explored. Extending this further to mukhaja abhinaya and other expressive elements opens up the possibility for creating a completely new movement vocabulary. What is currently being developed can be seen as a prototype that lays the groundwork for future expansion.' Physically, the tool takes the form of a dice with posture stickers and a board with rotating dials placed at pivot points, resembling a Pallanguzhi board. This tangible setup is designed especially for children, offering a screen-free alternative to digital apps and helping to reduce screen time. A web-based app version is currently under development for further expansion. Ultimately, ATAM aims to provide a non-hierarchical, exploratory learning environment, especially for children, where movement is play, inquiry, and self-expression. A live demonstration, Jayachandran notes, is the best way to understand its potential.
Indian Express
2 days ago
- Indian Express
Upasana Konidela reveals Sadhguru's advice she follows daily with daughter, says Klin Kaara ‘has to like it, no choice': ‘Look how glam his daughter is'
Ram Charan's wife and businesswoman Upasana Kamineni was over the moon when she welcomed her daughter Klin Kaara Konidela in 2023, almost 12 years after her marriage to the actor. In a recent interaction, Upasana spoke about ensuring her little one's meals are nutritious, with a special focus on traditional ingredients — particularly ragi, which she says is packed with nutritional value. In a conversation with Curly Tales, Upasana revealed that Indian guru and Isha Foundation founder Sadhguru advised her to give ragi to Klin daily. She said, 'Ragi is my favourite food and I make sure my daughter has ragi every day. Sadhguru told me, 'Make sure she has ragi in any form every day.'' Sadguru's daughter and Bharatanatyam dancer Radhe Jaggi vouched for traditional fermented drinks (kanji) and how the guru made sure she has one such drink everyday. Upasana shared, 'Sadguru's daughter told me that he would make kanji for her every day. Look how fit and glamorous she is and I want the same for my daughter, so I make her have ragi kanji.' When asked if Klin likes it, Upasana replied, 'She has to like it. There is no choice. It is non-negotiable.' During the same interaction, Upasana also spoke about Ram Charan's love for traditional South Indian food, revealing how he insists on having at least one traditional, home-cooked South Indian meal everyday even when they are travelling abroad and dining at some of the best restaurants in the world. She shared that this constant craving eventually inspired her to launch a venture selling dry home foods for travel purposes. She recalled, 'I started as a convenience because it was my problem. We used to go to the best restaurants in the world and then he would come and say, 'Okay, now I need Indian food.' I was like, 'Where will we find Indian food at 11:30 pm in the night?' Then we would go searching for Indian food in different countries because one meal of his has to be Indian, and it has to be breakfast or dinner. And not North Indian—his food has to be South Indian, and it has to be home-cooked. And when he is shooting, then it is a must.' She added, 'Now I travel with dry home foods everywhere. So I can just get everything ready in 10 minutes.'
Time of India
5 days ago
- Time of India
Why music and dance are the pulse of South Indian cinema - Let's explore
Picture Credit: Facebook In Indian films music and dance are not simply additions, they also sometimes become the soul of Indian cinema and create a special spell that has a big impact on the overall viewing experience. They are the essence of Indian cinema as they incorporate a range of sentiments, heart-felt lyrics and rhythms, grand dance sequences, and a variety of other things. Music in South Indian Cinema Specifically speaking of South Indian cinema, it has a deep and rich musical and dance legacy. With Carnatic music, along with classical dance forms such as Bharatanatyam and Kuchipudi, the region has firmly migrated to cinema. Even commercial cinema will usually include a few songs that act as poignant emotional moments or shifts in feeling. The work of legendary composer A.R. Rahman has defined countless South Indian films. In an interview with IANS, Rahman once said, "Music has this quality of entering the heart without any disclaimer. You know when it does something to you, the intention is pure. I feel that's the extraordinary quality, and that's why I feel blessed to be a musician." During a conversation with Etimes, Pawan Kalyan starrer 'Hari Hara Veera Mallu' director Jyothi Krishna said, "For a theatrical audience, songs play a big role in providing entertainment and creating those 'hook' moments that draw people back to the cinema. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like M3M Great Freedom Sale – The Biggest Property Sale in India M3M India Book Now Undo The music helps elevate the emotional core of the film." Naseeruddin Shah on South films doing better than Hindi cinema: They may be crass in their taste, but the execution is always flawless Dance sequences do not just provide choreography but joy or passion or even create conflict that cannot be communicated in words. There are forms of dance like classical dance forms such as Bharatanatyam, Kuchipudi or a high energy dance that is seen in a popular film today. Dance is a manifestation of culture and a celebration of creativity. In Telugu cinema, for instance, dance numbers are often grand spectacles. Think of the iconic 'Naatu Naatu' from 'RRR', which won an Oscar for Best Original Song in 2023. The song's infectious energy and synchronized dance moves, performed by leads Ram Charan and Jr. NTR, captivated audiences worldwide. Director S.S. Rajamouli, in a conversation with Vanity Fair, explained, 'One of the reasons why I think it is such a hit is not just because of the music, not just because of the dance, because there's a beautiful story in itself. The entire story of RRR is within that 10 minutes of 'Naatu Naatu.'" According to the 'SSMB29' director, "There are two important things, one is that you should really, really enjoy your dance. Only then can the audience really get the enjoyment out of your dance. And the second thing is in every moment of the dance, you're conveying something to the audience, some kind of emotion, these two guys (Ram Charan and Jr NTR) nailed it." Dance: The visual poetry Classical dance forms also play an important part, especially in making South Indian films, an example of this is Tamil films like 'Baahubali' or Malayalam films like 'Marakkar: Lion of the Arabian Sea', which incorporate Bharatanatyam or Kathakali. The dances are a representation of the distinct offerings of the region and as well as blending art and entertainment constructs. Music and dance in South Indian cinema provide more than just entertainment; they provide a cultural connection. There are many different languages, practices, and histories, yet music and dance become part of, or define, the shared experience of the film. Here's why Rashmika Mandanna said she won't dance to 'Pushpa: The Rise' song 'Saami Saami' anymore! Challenges and evolution Music and dance also face challenges by an increasingly fast-paced industry. The appearance of OTT platforms and niche global audiences have transformed the cinematic landscape. The filmmakers are experimenting with new formats. Some modern films reduce the number of songs to cater to shorter attention spans or international viewers who may not be used to song-and-dance sequences. In various films released online, we can see minimal songs and dance numbers as compared to a theatrical release. Today's trend In South India, it's common now for music composers to have an extreme level of stardom. Many practitioners of music composition in the South Indian film industry, from Ilaiyaraaja, A.R. Rahman, and M.M. Keeravani, to Anirudh Ravichander and Thaman S, have produced soundtracks that can stand alone as works of art, entirely divorced from the source film. Fans of these composers are so emotionally raw and connected to their work that they sometimes simply watch movies because a certain composer did the music for the film. This attachment reveals the weight of the music in South Indian storytelling. A strong music album can lift the chances of a film well before its theatrical release.
