Dec 2017
The embodiment of rural identities
Movement is giving sense to divine language
- Marc-Paul Lambert
 Now with changing times and geography, we find in Kerala with performing arts, another aspect adding alternately to that hidden/open progression in history. Rural genres seem to be "pushing" in another direction of understanding that dramatically includes the vertical relation of performance, once it is hooked to the spiritual aspect. What we discover in the old Indian sacred dances is a constant call for the actualisation of body processes, because the sense of body awareness has always been at the centre of all concerns.

Dec 2014
Aesthetic principles do not age by Lakshmi Vishwanathan
There are no short cuts to evolved and poignant Abhinaya.  The underlying aesthetic principles do not go out of fashion.  A taste for that kind of music first needs to be cultivated. The real work is in internalizing the meaning and then sharing both melody and mood through inspired song and dance. Such artistry would leave a lasting impression on a sensitive listener and viewer. After all, great artists have shown the way, and it is up to the present day Vidwans and mature dancers to study the deeper aspects more seriously. Aesthetic principles never go out of fashion.

Jan 2012 - last update Jul 2012
Excerpts of Articles by V.P.Dhananjayan
from his book "beyond Performing: Art and Culture"
Published by B.R.Rhythms, Delhi
The book contains articles on art, culture, social issues, politics, lectures, profiles and letters to editors and administrative heads.
Foreword by Cho Ramaswamy & illustrations by Cartoonist Sarathy

Sep 2010
Vadivelu and Vazhuvurar Centenaries by A Seshan

Sep 2010
Dancing figures from the temple cars of South India by Dr. Susil Pani, Pondicherry

Thitambu Nritham is the ritual art form in North Kerala that is more than 700 years old, mainly performed by Namboodiris of this part of Kerala. -
Sep 2010
Odissi Guru Kelucharan Mohapatra
Profile featured in
In the eighties, after leaving the Kala Vikas Kendra, Kelucharan Mohapatra travelled assiduously to different cities of India to be able to teach and spread Odissi dance, as far and wide as possible. He became a regular visiting teacher for the Gandharva Mahavidyalaya in Delhi, for the National Centre for the Performing Arts in Mumbai and for the Padatik Dance Centre in Calcutta. The number of his students kept on multiplying and when he was not teaching them in their respective towns, they would come, especially in the summer months to learn from him at his house in Cuttack.

Kelucharan Mohapatra would appear on stage as a solo performer and leave the audience spellbound by the sensual beauty and naturalness of his interpretations of the character of Radha from the Geeta Govinda, of the fisherman Kaibarta from the Ramayan and of Krishna from innumerable Oriya songs. Compared with Nijinsky for his "magnificent sinuous torso and arms" and with Chaplin for his "most inspired gestural acting" by American critics, Kelucharan had by now danced not only in India but all over the world, participating in the festivals of India in London, Russia, Germany, France, America and Japan.
Read the complete profile
Info & pics courtesy: Srjan

Apr 2006
"A Dancer on Dance" by V.P.Dhananjayan
Natya The Essence of Hyndhava - Dharma ; Salient Features of Dance ; Rasas ; Elaboration of the Rasas ; The Concept of the Male Dancer ; Kathakali - Origin & background ; Classical technique in Kathakali ; Costume & Make-up in Kathakali