Sudeshna Maulik is one of the most promising Indian Classical dancer in Canada today. Endowed with an electrifying presence & total involvement in dance, her performances always speak of a rare intensity & authority. She brings in her dance mastery in Kathak technique that is the fruit of meticulous training under Pt Chitresh Das initiated at the tender age of seven. She continued her training from Bharatiya Kala Kendra, New Delhi and later at Kathak Kendra, New Delhi under the guidance of Kathak legend Padmabhibhushan Birju maharaj. From last few years she had been a part of Kadambs performing unit (Padmashri Kumidini Lakhias Dance company.) & was learning the finer nuances of choreography & the art form from the great visionary of modern Kathak
Having imbibed from her teachers the best of different traditions she blossomed a style thats distinctly her own & had been a part of numerous productions in India and abroad sponsored by the I.C.C.R., I.T.D.C, International Dance Companies etc. She is a graded artiste in Delhi Doordarshan (National Telivision) and has performed in C.P.C. (Central production centre) in different ballets choreographed by Guru Pt. Birju Maharaj Ji, Kumudini lakhia and Aditi Mangal Das Etc
Currently she resides in Montreal, Canada (Became permanent resident in Feb, 2006) and continuing her Dance odyssey thru collaboration, performance and teaching in Canada.
Indian Dance & Spirituality
Lord Indra became very upset during the age of Tretayug. Many people became indulged with worldly pleasures. Lord Indra requested Lord Bramha, the creator, to create something that would help detach man from the material world and connect man with spirituality. Indian classical dances are not just meant for the movement of the limbs but are performed to take man into a higher level of consciousness thus closer to the Supreme Being. The art form of Indian classical dance gives a spiritual fulfillment and nurtures a path of righteousness.
Lord Bramha created a fifth veda known as the Natya Veda, a veda about dance. While in meditation he extracted various parts of the other four Vedas. Pathyam (recitation) was taken from the Rig Veda. Gitam (melody) was taken from the Sama Veda. Abhinaya (histionic representation) was taken from the Yajur Veda. Rasa (sentiments) was taken from the Atharva Veda.
Lord Bramha asked Sage Bharata to complete the Natya Veda. Sage Bharata divided the Natya Veda into four parts. Bharati Vritti involves speech. Arabhati Vritti involves arrogance. Sattvati Vritti involves sentiments. Kaisiki Vritti involves soft, graceful movements.
The first dance drama then took place. The gods were worshipped before the performance. The gods must be worshipped before any performance. The devatas had special parts of the theatre to take care of. Lord Natraj, also known as Shiva, saw this dance drama. Lord Shiva was very contented. Lord Shiva and his beloved spouse Mother Parvati started to teach their disciples dance. Shiva in the form of Natraj is the Hindu God of Dance.
According to Natya veda (the ancient Indian Treatise) dancing is meant for all. When used in the right way it helps to promote righteousness. It is used for enjoyment and entertainment as well as spiritual benefits.
Keeping the spiritual aspect of Indian dance this hands on workshop will revolve around:
- Paint the space -Exploration of linear, circular three dimensional, multi dimensional movements & pirouettes and fill up the open canvas ie the space with the body (ie the painting brush). Notes (Only once you you have explored the space outside you can understand the space within you)
- Nine emotion in Dance -The dramatic expression of the face & hands with a supportive body language & movements portraying different emotion of mankind.
- Tatkar - An intense cardio-practice against a musical time cycle of 16 & chanting of Om
For more information about Sudeshna Maulik visit her website www.sudeshna.org.