Latest news with #Nayika
Hans India
22-06-2025
- Entertainment
- Hans India
The enchanting miniatures
Kishangarh miniature painting artist Tilak Gitai (Padma Shri awardee) hails from the second generation of royal court painters patronized by the rulers of Bikaner. One of his Ragamala painting series, done on ivory, is displayed at the Museum D'Ethnographie in Geneva. Other collections are housed at the Victoria and Albert Museum, London, the National Museum of Ethnology, Japan, and the National Crafts Museum, New Delhi. Miniature paintings from Kishangarh are particularly known for their depiction of the 'Nayika'—characterized by lotus-like eyes, a sharp nose, thin sensitive lips, a pointed chin, and eyebrows shaped like a bow. The 'Nayika' has curls of ebony hair, adorned with necklaces of precious stones, pearls, and a gold-embroidered wrap. Tilak Gitai was at the Indian Institute of Technology (IIT) Hyderabad to conduct a Kishangarh miniature art intensive workshop for young participants from educational institutions across India, organized by SPIC MACAY. Can you tell us how your journey started in this art? My father was associated with this art and was commissioned for various artistic works by Maharaja Ganga Singh of Bikaner. I did my schooling in Jaipur and had a flair for drawing. Once, my school teacher doubted whether I had traced my drawing using butter tracing paper. To confirm his suspicion, he handed me a piece of chalk and asked me to replicate the drawing on the blackboard. In 1949, my father established the Rajasthan Kala Mandir in Jaipur and continued promoting the art form. He encouraged me to meet senior artists so I could learn its finer intricacies. I took guidance from Sri Ram Gopal Vijayvargiya and Ved Pal Sharma. Meanwhile, I enrolled in the College of Art, New Delhi, and graduated with a BFA as part of its first batch. What made you create Ragamala paintings in the Kishangarh style? In one sentence, I can say that the iconography of the Kishangarh school of art is melodious. No known Ragamala painting had been created in this school of art, so I took it upon myself to do so. I have also authored a book titled Raga Mala – The Missing Link, which explains the ragas, their structure, timing, associated seasons, and the logic behind the colours and iconography used in each painting. How difficult is this art to practice? Miniature art demands immense concentration and patience. It's a meditative form of art—one must be completely immersed in it. It has never been easy for any serious practitioner. From learning how to make colours from natural materials, to experimenting and developing new techniques, much of it was a closely guarded secret. It took a long time to build confidence and truly understand the craft of color-making and mixing. What steps need to be taken to preserve this art form? We must study the education systems and heritage conservation cultures prevalent in developed countries. By aligning our policies accordingly, we can spark a mindset shift in India. The level of historical conservation and museum development seen abroad must serve as a model. India needs to make heritage education more accessible to the general public. Do youngsters come forward to learn this art? Youngsters do show interest in learning. However, our education system doesn't provide them the opportunity to pursue a profession in this field from a young age. Peer pressure also plays a major role, often pushing students toward becoming doctors or engineers instead.
The Hindu
25-04-2025
- Entertainment
- The Hindu
Rima Kallingal on winning the best actor award at the Kerala Film Critics Awards, acting in an Anjali Menon film and being a dancer
Gratitude. Rima Kallingal sums it up with one word when I ask her what she is feeling. Winning the Kerala Film Critics Awards for the Best Actor, praise for her Sree Kanya in the segment Backstage, directed by Anjali Menon, part of the coming of age anthology Yuva Sapno Ka Safar and the astounding response to her latest dance production Nayika, a tribute to Malayalam cinema's women actors of the past 100 years, Rima says: 'I feel a surge of gratitude and happiness as an artist! ' We are sitting in her apartment in Panampilly Nagar, Kochi, which wears a dash of whimsy and has dance-related stuff strewn all over. She has just opened the new space for her dance school, Mamangam, which she founded in 2014. It is the material from there, related events and her impending trip to the US (for a month-long series of stage shows), she explains, accompanied by her trademark full-throated laugh. Sharing the best actor award 'I had forgotten about it when the announcements [Kerala Film Critics Awards] came, I was scrolling to see which film it was for. We were filming in Varkala last March. ' Although Rima is seen far and between onscreen, the work that she has been doing is interesting, in her own words. 'Getting a best actor award for a film like Theatre — A Myth of Reality alongside mainstream films for which Tovino [Thomas] and Nazriya [Nazim] got awards is saying something about films and where Malayalam cinema is.' Backstage, which recently dropped on the Waves app, is the story of estrangement and reconciliation of two dancer friends, Gowri (Padmapriya) and Rima's Sree Kanya. The nuanced telling of a story that only Anjali can, and abhinaya-laced performances by the two actors is a refreshing and evocative take on layered female friendships. Rima calls getting to work with Anjali a dream come true. Rima, 41, says the film's set was a 'safe space' where more than 60 percent of the people on the set were women. 'When we were shooting the climax, when the two friends talked to resolve the estrangement, every woman there had tears in her eyes. That is the thing about female friendship; they are more nuanced — we ask, we tell everything, we want to know…. We all have that one friend with whom we are or may have been estranged! It was so relatable.' Her last commercial release was Neelavelicham (2023). She was curious about how the audience would react to Backstage, which is a small slice of life presented in 40-odd minutes. The happiness shows, Rima is glowing because of it. With good reason — she has carved a space for herself despite hostility and ridicule for her political stance as a feminist or as a member of the Women in Cinema Collective (WCC). When I ask her of the lost opportunities (in films) because of her politics and how she feels about it, she says, 'Yes, it affected me career-wise. There was a time when I was not happy about having to pay the price for my beliefs; today I am happy to. I did not want to change my stand to get work, I don't want to. I am sure about it. If, as an artist, my work derives from the space and time I live in, how can I deny what is happening?' The message being sent, with the way the actors who spoke up against the status quo were penalised, is that to succeed they have to keep quiet. She confesses to feeling feminist fatigue with constantly trying to change the way people think. 'Now I am like if someone absolutely wants to be a misogynist, so be it. I can't be constantly arguing and trying to change them.' For the love of dance Her focus currently is dance, she is open to work that is exciting enough. 'Filmmakers who approach me, come with offers that need me like Theatre — The Myth of Reality.' Talking about women in Malayalam cinema, the conversation segues to Nayika. Her face lights up when she speaks about her tribute in dance to the 'nayikas' of the past and present. The one-hour show, choreographed to some of Malayalam cinemas classic, well-loved songs featuring the women actors, has been staged in Kozhikode and Thiruvananthapuram. She is taking it to the US now. 'I have split Nayika into four eras which span from the black and white to the present. It starts with a homage to PK Rosie, the first of us. It is a sobering reminder of how she was treated, discriminated against for her caste. The songs we have picked induce such a rush of nostalgia…and that resonated with the audiences too,' says Rima. The last song is Bougainvillea's 'Stuthi…' 'and I had to add 'Chillane…' [22 Female Kottayam] because it is from my film and also because the song still has such a feel!' she says laughing. Neythe at ITFOK The contemporary dance production, Neythe — Dance of the Weaves (2023), was Mamangam's first dance production. It holds a special space in her heart. One of the high points was it being staged at the International Theatre Festival of Kerala in Thrissur earlier this year. 'We have watched films at the International Film Festival of Kerala (IFFK) sitting on the stairs and floor. Imagine watching a dance production like that? We had people watching Neythe like that. It was such a great feeling. There were those who wondered about an actor bringing a 'dance' to ITFOK but Neythe is physical theatre. And the response to the two shows was validation. It formed a core memory for me.' Although she had carried the idea of Nayika for a while, it was a conversation about how a more relatable dance production would work with audiences, post-Neythe, which is inspired by handloom weaving. That is how she decided to work on Nayika. The research, she admits, was intense. 'I did not want it to be just another dance show with film songs. I wanted it to be more than that, I have tried my best to ensure that nobody is left out.' The scope of what she has done is huge, encapsulating a journey of a century into 60 minutes was not easy. 'I am not done with Nayika, I want to bring in more layers,' she says. Pulling out her phone she shows videos and photographs of Nayika. It is evident that she and her team have pulled out all stops, creatively. Nayika is a spectacle in the truest sense of the term. She credits her team at Mamangam for what she has been able to achieve. 'They inspire me to go after what I want. I could not have done it without them. I have never liked to dance solo, I have always wanted to dance as a team. People like Aloshy and Greeshma (dancers with Mamangam) who look at dance seriously, as a career. That is what they do. When I started dancing, I was unsure, but now there is a space for dance and those who want to make it a career.' Five choreographers, each a specialist in their genre such as folk, classical, hip hop, pop etc worked on the Nayika production which will have 16 dancers. Being a dancer, acting in films that she wants to be a part of and winning awards while at it…Rima Kallingal is in a happy space and she is grateful for it.
