logo
#

Latest news with #Kathak

Performing arts in the creative economy
Performing arts in the creative economy

Hans India

time42 minutes ago

  • Entertainment
  • Hans India

Performing arts in the creative economy

The performing arts encompasses dance, theatre, music, puppetry, and folk expression. From the vedic era Bharat has experienced a dynamic mode of communication which was more than entertainment. These were instruments of education, social change, political expression, and cultural continuity. Today, these traditional forms are finding new relevance within the framework of the creative economy, integrating with technology and innovation to open up expansive opportunities for enterprise. What is Creative Economy? The creative economy has created a niche space in new economics which covers interdisciplinary sectors of culture, creativity, and knowledge-based intellectual capital. According to the UNCTAD's Creative Economy Outlook 2024 there is a varied economic contributions of the creative economy across different countries, ranging from 0.5% to 7.3% of GDP and employing between 0.5% to 12.5% of the workforce. The Creative services exports marked 29% increase from 2017 surging to $1.4 trillion in 2022. It's interesting to note that over the past decade (from 2002), the share of creative goods' exports has remained steady around 3% and the creative services' share rose from 12% to 19%. Though the export of creative goods exports reached $713 billion with a 19% increase, the analytics are captivating. The primary export of developing countries is creative goods, while developed countries dominate creative services exports. However, developing countries have significantly increased their share from 10% in 2010 to 20% in 2022. The analysis indicates that the creative economy is driving growth and employment. It includes arts, media, design, film, publishing, fashion, advertising, heritage, and digital innovation. The Performing arts sit at the heart of this ecosystem bridging tradition with technology, emotion with storytelling, and heritage with innovation. Communication Tool From Ancient Times to Airlines The performing arts has been a powerful mode of mass communication. From temple dancers narrating epics through Bharatanatyam or Kathak, to the use of Nautanki and Jatra in rural awareness campaigns, performing arts have served as living newspapers, educators, and catalysts for collective consciousness. A brilliant contemporary example is the Indian Airlines safety demo, choreographed in the classical Bharatanatyam style. This innovative step has communicated safety protocols effectively but celebrated Bharatiya culture in a modern context by demonstrating how performing arts can be meaningfully woven into even the most unexpected sectors. Education and Skill Development The modern pedagogy is increasingly embracing performing arts to enhance comprehension, empathy, and creativity. The concepts in subjects like history, science, language, and even mathematics can be internalised effectively through performance-based learning. For instance: •Puppetry has been used to teach environmental conservation and sanitation in schools. •Street theatre (Nukkad Natak) is used in public health campaigns for behavior change. •Role-play and improvisation are effective in soft skills training, language acquisition, and even corporate leadership modules. This creates scope for enterprising individuals by creating a niche market with high demand to offer experiential learning solutions, workshops, and educational content blending performance with curriculum. Performing Arts as Enterprise Performing arts in the digital age are evolving with new entrepreneurial avenues, particularly when integrated with technology, design, and digital tools. For instance, Classical dance helps logical thinking and also time management by synchronising with the rhythm. Digital Content & Streaming: Artists now use platforms like YouTube, Instagram, and OTT services to create folk-based web series, host virtual performances, and engage audiences through tutorials and storytelling. For instance, Raja Kumari blends Indian classical dance with hip-hop for global reach. VR & AR Integration: Immersive technologies enable virtual performances, AR-based dance tutorials, and interactive theatre. Startups can recreate classics like Shakuntalam or Ramleela using VR for global audiences. Edutainment & Curriculum Integration: Ed-tech ventures are using performing arts to develop school modules, train teachers, and build apps/games rooted in traditional forms. Example: Kahaani Box simplifies learning through theatre. Cultural Tourism & Event Curation: Entrepreneurs curate festivals, community theatre, and cultural cafés to offer immersive cultural experiences. Therapeutic & Wellness Applications: Performing arts are used in mental health, therapy for neurodivergent children, and wellness programs combining dance, music, and yoga. Reviving Traditional Forms with Innovation: Indigenous arts like Baul, Yakshagana, and Therukoothu are being revived through digitisation, AI, animation, and online courses. Youth can become cultural entrepreneurs by fusing tradition with technology and storytelling for global appeal. Performing arts are gaining policy support as a tool for job creation and cultural diplomacy. Schemes like Startup India and UNESCO's Creative Cities offer funding, while institutions can scale arts education. Challenges like digital access and market gaps need public-private partnerships, mentorship, and targeted skill development to unlock full potential. Many artists in the country especially woman dedicated years of energy in learning the art should reimagine as a Creator, Educator, and Innovator. Repurposing performing arts with innovation and technology empowers artists, drives the creative economy, and strengthens Bharat's cultural and economic identity. (The writer is a Creative Economy Expert)

Carrying forward a legacy
Carrying forward a legacy

Hans India

time3 hours ago

  • Entertainment
  • Hans India

Carrying forward a legacy

From the vibrant town of Gaon Badabar in Churu to global stages across Rome, Bangkok, and Beijing, Sanjeet Gangani, eminent Kathak exponent of the Jaipur Gharana, has embraced his lineage not as a burden, but as a sacred calling. A third-generation dancer from a legendary family of percussionists and performers, Sanjeet grew up in a home alive with the pulse of tabla, pakhawaj, and ghungroos. His journey is not just one of talent—it is a lived inheritance of rhythm, devotion, and tradition. 'From a very young age, I was surrounded by the rhythms of dance and music,' he recalls. 'It never felt like a choice—it was simply my life path.' With icons like his father and guru, Pt. Rajendra Gangani, and inspiration from stalwarts like Sitara Devi and Maharaj Ji, Sanjeet was immersed in Kathak's energy long before he stepped on stage. He vividly remembers watching his father rehearse for hours. 'Every day was different—new chakkars, fresh layakari. Watching him choreograph was a masterclass in creativity,' Sanjeet says. 'That had a profound impact on me. Kathak isn't something I chose—it embraced me. It flows through my veins like breath.' Growing up in such an environment, rhythm wasn't just practice—it was life. 'Our home is filled with music from morning to night. Even my mother recites compositions while cooking,' he laughs. 'Kathak isn't something we do—it's who we are.' Rather than being weighed down by legacy, Sanjeet draws strength from it. 'When you're connected to your roots, there is no weight to bear—only balance,' he says. 'I strive to honour the tradition while letting my own voice take shape within it.' His artistic voice has grown more distinct over the years. 'Your real style begins to emerge when the soul and body become one,' he says. 'Even if you repeat the same composition a hundred times, your perception changes—and so does your dance.' During the pandemic, Sanjeet's artistry reached new depths. 'In that silence, there was only riyaaz. I wasn't dancing for an audience—I was dancing to understand Kathak at its core,' he reflects. 'My father's guidance during that time shaped me, not just as a dancer, but as a thinker.' In 2021, Sanjeet founded Kathak Parampara, a movement rooted in tradition but open to evolution. 'It's more than an institution—it's a living legacy,' he says. 'Students begin with tala and laya, but they're also encouraged to find their voice. Tradition must be preserved with love, practiced with discipline, and carried forward with vision.' Even in a tradition historically perceived as feminine in some circles, Sanjeet never felt out of place. 'In our family, male dancers have always embodied power and veer rasa,' he asserts. 'Kathak holds both strength and grace—it's not bound by gender.' His training in percussion has enriched his choreographic depth. 'The tabla shaped my understanding of rhythm. Movement isn't just about following the beat—it's about conversing with it. That's what I mean when I say, 'We make the rhythm dance to us.'' Sanjeet especially enjoys working with beginners. 'Teaching those with no prior training is like painting on a fresh canvas,' he says. But he cautions aspiring dancers against expecting quick mastery. 'What they see on stage is years—decades—of sadhana. Kathak isn't just choreography—it's a way of life.' Globally, his performances have transcended language barriers. 'I performed in China, where the audience had never seen Kathak. Afterward, a little girl came up to me and said, 'I understood the story.' That reminded me—emotion, rhythm, and energy speak universally.' If he weren't a dancer? 'I would've been a tabla player,' Sanjeet smiles. 'Rhythm has always been my foundation.' Above all, Sanjeet carries forward one lesson from his father that continues to guide him: 'Honesty in your art, punctuality in life, and faith in karma will take you further than anything else. Let your work speak for you—don't chase the result.' In every step, every chakkar, every sum—Sanjeet Gangani isn't just performing Kathak. He's living it, preserving its essence while shaping its future.

‘Kathak is incomplete sans Lachchhu Maharaj's touch'
‘Kathak is incomplete sans Lachchhu Maharaj's touch'

Time of India

time12 hours ago

  • Entertainment
  • Time of India

‘Kathak is incomplete sans Lachchhu Maharaj's touch'

1 2 Lucknow: Birju Maharaj Kathak Sansthan paid tribute to Kathak legend Pandit Lacchu Maharaj through 'Guru Smaran', a commemorative event, at Rai Umanath Bali auditorium on Saturday. The evening commenced with students presenting 'guru ashtakam'. Chief guest Anil Rastogi, a veteran actor and senior dramatist, shared personal memories of his association with Lacchu Maharaj. "His insightful feedback on Darpan's theatrical productions was invaluable to me as a director," Rastogi recalled. Prof Mandavi Singh, who has researched the maestro's contribution, emphasised his significance to Kathak. "The art form is incomplete without Lacchu Maharaj's innovations, his influence was so profound that my guru, his student, mentioned him daily, inspired me to research on him," she said. The highlight of the evening was a documentary showcasing Lacchu Maharaj's illustrious journey, from his early training under his father and brother to his successful stint in Hindi film industry, where he choreographed iconic films like 'Mughal-e-Azam', 'Kala Pani' and 'Pakeezah', besides his photographs while teaching his students and several performances. BMKS president Kum Kum Dhar Choudhary, director Sanjay Kumar Singh and assistant director Tuhin Diwedi were present.

Nidhhi Agerwal: I wanted to be a heroine all my life
Nidhhi Agerwal: I wanted to be a heroine all my life

New Indian Express

time3 days ago

  • Entertainment
  • New Indian Express

Nidhhi Agerwal: I wanted to be a heroine all my life

Despite being attached to big-ticket films for a few years now, actor Nidhhi Agerwal has had a rather start-stop career. If the pandemic was one reason, the various delays in her marquee projects was another reason. Three years since she last appeared on the big screen in Tamil and Telugu, Nidhhi is back with one of her biggest releases, the period epic Hari Hara Veera Mallu. Headlined by Pawan Kalyan, the Jyothi Krisna directorial is slated for release on July 24. It marks her maiden venture in the period genre, which often requires actors to learn new skills. Hari Hara Veera Mallu was no exception. 'For this film, I learnt horse riding. Although I am trained in ballet and Kathak, I didn't know Bharatanatyam, which was something I learnt for the film." Hari Hara Veera Mallu follows a nonconformist character (Pawan) who steals the Koh-i-Noor diamond from the Mughals. The film, which is set to release in Telugu, Tamil, Kannada, Hindi, and Malayalam, is definitely different from the kind of films Nidhhi has starred in her career. Acknowledging that variety is needed to bring out the versatility of an actor, she says, 'A director once told me that in every film, my acting is different because I do not have a personal style yet. I usually just follow the director's instructions. I do not add my own touch to the role unless I need to. I feel like I do not have a pattern yet, or maybe I do.' However, she shares that having a particular style of acting is a double-edged sword. "We run the risk of losing uniqueness while playing different characters, right?" In what can be construed as Nidhhi making up for all the lost time, she is not just part of the pan-Indian Pawan Kalyan film, but also plays a pivotal role in Prabhas' much-delayed, and yet much-awaited horror comedy, The Raja Saab. In fact, she had to juggle between both these sets. It posed two challenges for her: losing out on regular sleep and sleeping in transit as a result, and maintaining character continuity. However, the actor shares that the fact that both films are of two extreme genres helped her be in character. 'Every set has a completely different vibe. As soon as you enter the Hari Hara Veera Mallu sets or The Raja Saab sets, I am like, 'Ok, I am in this world.' Your surroundings, and the actual set makes a huge difference. With Hari Hara Veera Mallu, it was set in a palace, and there was no blue screen filming involved.'

Meet Madhuri Dixit's sisters, trained Kathak dancers, as gorgeous as her, work as..., their names are...
Meet Madhuri Dixit's sisters, trained Kathak dancers, as gorgeous as her, work as..., their names are...

India.com

time3 days ago

  • Entertainment
  • India.com

Meet Madhuri Dixit's sisters, trained Kathak dancers, as gorgeous as her, work as..., their names are...

Meet Madhuri Dixit's sisters, trained Kathak dancers, as gorgeous as her, works as..., their names are... Madhuri Dixit is one of the most iconic and beloved stars in Bollywood. Even at the age of 57, she continues to captivate audience with her grace, beauty and impeccable charm. In 1984, the actress made her Bollywood debut with Abodh and then went on to become one of the biggest stars in Indian cinema. However, do you know Madhuri has two sisters who are as gorgeous as her yet chooses to stay away from the limelight? Madhuri Dixit was born on 15 May 1967 into a Marathi Kokanastha Brahmin family to Shankar and Snehlata Dixit. She has two elder sisters, Rupa Dixit and Bharti Dixit, and a brother, Ajit Dixit. While Madhuri became a cultural icon, her siblings kept a low profile and preferred to stay away from the entertainment industry.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store