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Nritya Marga Mukura- Research oriented Book Authored by Dr Manorama B N on Bharatanatya History and Repertoire

ಮನೋರಮಾ ಬಿ. ಎನ್ ಅವರನೃತ್ಯ ಮಾರ್ಗ ಮುಕುರ’ – ಭರತನಾಟ್ಯದ ಐತಿಹಾಸಿಕ ಬೆಳವಣಿಗೆ ಮತ್ತು ನೃತ್ಯಬಂಧಗಳ ದಾಖಲೆಯುಳ್ಳ ಅಧ್ಯಯನ ಕೃತಿ. ಭರತನಾಟ್ಯದ ಮಾರ್ಗಪದ್ಧತಿಯ ಮಜಲುಗಳನ್ನು, ನೃತ್ಯಾಂಗಗಳನ್ನು ದಾಖಲಿಸುವ, ಸಮಗ್ರ ಸಂಕ್ಷಿಪ್ತ ವಿವರವನ್ನೀಯುವ ೧೬೦ ಪುಟಗಳ ಕೃತಿ, ಆಸಕ್ತ ಸಹೃದಯರ ಪಾಲಿಗೆ ಸಾಕಲ್ಯ ದೃಷ್ಟಿಯ ಅಧ್ಯಯನಸಾಮಗ್ರಿ. ಮಾರ್ಗ, ದೇಸೀ ನೃತ್ಯದ ಪರಿಕಲ್ಪನೆ, ಲೋಕಧರ್ಮಿ ನಾಟ್ಯಧರ್ಮಿ ಪ್ರಬೇಧಗಳು, ಆಯಾಯ ಕಾಲಘಟ್ಟದ ಲಾಕ್ಷಣಿಕರ ವ್ಯಾಖ್ಯಾನಗಳ ಮೂಲಕ ನಾಟ್ಯಪದ್ಧತಿಯ ಮಜಲುಗಳಲ್ಲಿ ವ್ಯತ್ಯಾಸ, ನಾಟ್ಯದ ಪರಿಕಲ್ಪನೆ ಕಾಲಾನಂತರದಲ್ಲಿ ನೃತ್ಯವಾದ ರೀತಿನೀತಿಯನ್ನೊಳಗೊಂಡಂತೆ ಭರತನಾಟ್ಯದ ಇತಿಹಾಸ, ಬದಲಾವಣೆ, ಬೆಳವಣಿಗೆ ಮತ್ತು ಕಛೇರಿಮಾರ್ಗವನ್ನು ಹೇಳುವ ಕೃತಿಯು ಆಲಯ ಮತ್ತು ರಾಜಾಶ್ರಯ ನೃತ್ಯಪದ್ಧತಿಯಲ್ಲಿ ಬೆಳೆದುಬಂದ ಭರತನಾಟ್ಯದ ವಿವಿಧ ಹಂತಗಳನ್ನೂ, ಭರತನಾಟ್ಯಕ್ಕೆ ಕರ್ನಾಟಕ ಸಂಗೀತದ ಕೊಡುಗೆಯನ್ನೂ ವಿವೇಚಿಸುತ್ತದೆ.

ರಸನಿರೂಪಣೆಯೇ ಕಲೆಯ ಅತ್ಯುನ್ನತ ಸಾಧನೆ ಎನ್ನುವ ಸಾರಾಂಶವನ್ನು ಹೇಳುವ ಈ ಕೃತಿ, ಭರತನಾಟ್ಯದ ಸಮಕಾಲೀನ ಬದಲಾವಣೆ, ಬೆಳವಣಿಗೆ, ವ್ಯತ್ಯಾಸ, ಲೋಪದೋಷ, ಗುಣಾವಗುಣಗಳನ್ನೂ ಸಾಕ್ಷ್ಯಸಮೇತ ವಿಶ್ಲೇಷಿಸಿದೆ. ಪುಷ್ಪಾಂಜಲಿ, ಅಲಾರಿಪ್ಪು ಮುಂತಾದ ನರ್ತನಪ್ರಕಾರಗಳಿಂದ ಮೊದಲ್ಗೊಂಡು ತಮಿಳ್ನಾಡು ಮತ್ತು ಮೈಸೂರು ಪರಂಪರೆಗಳಲ್ಲಿ ಬೆಳೆದುಬಂದ ವಿವಿಧ ನೃತ್ಯಾಂಗಗಳನ್ನೂ ಸೂಕ್ತ ದಾಖಲೆ, ಹಿನ್ನಲೆಗಳೊಂದಿಗೆ ಮೆಟ್ಟಿಲಿನೋಪಾದಿಯಲ್ಲಿ ಚರ್ಚಿಸಿದೆ. ನೃತ್ಯಕ್ಷೇತ್ರದ ಹಿರಿಯರ ಸಂದರ್ಶನ, ಗ್ರಂಥ ಪರಾಮರ್ಶನ, ಅವಲೋಕನ, ಕ್ಷೇತ್ರಕಾರ್ಯಾಧಾರಿತ ಸಂಶೋಧನೆಯಿಂದ ನೃತ್ಯಮಾರ್ಗ ಮುಕುರದ ವಿಷಯ ವಿಶ್ಲೇಷಣೆ ಪರಿಣಾಮಕಾರಿಯಾಗಿ ಮೂಡಿಬಂದಿದೆ. ಇಂದಿನ ಭರತನಾಟ್ಯಕ್ಷೇತ್ರದ ಅಗತ್ಯ, ಅನಿವಾರ್ಯತೆ, ಸಮಸ್ಯೆಗಳಿಗೆ ಕನ್ನಡಿ ಹಿಡಿದಿರುವ ಈ ಪುಸ್ತಕ ನೃತ್ಯಕ್ಷೇತ್ರದ ಒಂದು ಕೊಡುಗೆ ಮತ್ತು ನಿಜಕ್ಕೂ ಮಾರ್ಗ ಮುಕುರವೆಂಬ ಹೆಸರಿಗೆ ಅನ್ವರ್ಥ.- ಎಂದಿದ್ದಾರೆ ಪುಸ್ತಕಕ್ಕೆ  ಅನಾವರಣದ ದಿನವೇ ವೇದಿಕೆಯಲ್ಲಿ ವಿಶ್ಲೇಷಣೆಯನ್ನಿತ್ತ ಅಷ್ಟಾವಧಾನಿಗಳು, ಚಿತ್ರಕಾವ್ಯ ಪರಿಣತರು, ಪೃಚ್ಛಕರೂ ಆದ ಡಾ. ಆರ್. ಶಂಕರ್.

ಮನೋರಮಾ ಬಿ. ಎನ್ ಅವರ ನೃತ್ಯ ಸಂಬಂಧಿತ ಹಸ್ತಮುದ್ರೆಗಳ ಕುರಿತ ಸಂಶೋಧನಾ ಕೃತಿಮುದ್ರಾರ್ಣವ ನಂತರ ರಚಿತಗೊಂಡ ಎರಡನೆಯ ಕೃತಿ ಇದಾಗಿದೆ. ಕೃತಿಯು ಮಡಿಕೇರಿಯ ಸಾನ್ನಿಧ್ಯ ಪ್ರಕಾಶನದಿಂದ ಪ್ರಕಟಿತವಾಗಿದ್ದು ಬೆಂಗಳೂರಿನಲ್ಲಿ ನಡೆದ ನೂಪುರ ಭ್ರಮರಿಯ ೫ನೇ ವಾರ್ಷಿಕ ಸಂಭ್ರಮದಲ್ಲಿ ಅನಾವರಣಗೊಂಡಿದೆ. ಪುಸ್ತಕದ ಬೆಲೆ: ೧೨೫ರೂ

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Bharata Natya Bodhini Book authored by Dr Manorama B N; Translated to English by Shalini Vittal, Dwarita Vishwanath and Committee of experts.

 

Today’s aspiring artists in general and dancers in particular are grappling with access to resources that deal with the basics of their respective forms of art, presented in an easily comprehensible manner. While honing performance skills is one dimension of an artist, which is usually aimed at perfecting the grammar of the art form, a thorough understanding of aesthetics, classical literature, art history and the life stories of artists of the past can enrich the content of the art form. A remarkable attempt in this direction has been made by Dr. BN Manorama, a thorough scholar of classical Indian dance and aesthetics with an insightful understanding of the underlying philosophy and aided by practical experience. The work ‘Bharata Nāṭyabodhini’ released on the 12th August 2018 in Bangalore can act as a stepping stone in a dancer’s career by laying strong foundation in the fundamentals of the art form.  The book is not only rendered in the Kannada language by the author, but is also accompanied by an English version, translated by Smt. Shalini. P. Vittal and Dr. Dwaritha Vishwanatha, both scholars and artists. The book has also been composed keeping in mind students who would like to appear for dance exams at different levels conducted by the Karnataka State Board, Gandharva Mandal and other nation-wide institutions. As mentioned by the author in the introductory essay, the outcome of the exam is merely a by-product of the process of going through the text. The book itself is aimed at educating dancers about their own form of art, irrespective of their interest in appearing for the said exams.

The book is a result of the deep scholarship and thorough research of Dr. Manorama spanning over ten years. It is evident in the rich flow of content and clarity of concepts presented in ornate Kannada language, which is also translated into simple English for the benefit of the global audience. The book starts with the etymological derivations of the word Abhinaya, and Bharata and also gives cultural connotations which are indivisible part of Indian ethos. An artist practising any form of Indian art cannot be successful unless he has a thorough understanding, an intuitive feeling and respect for the cultural elements. This has been dealt in detail in the opening chapters of the book. The purpose of Art, its creation, the responsibilities of an artist, the features of a dancer and the technical terms used are all described in detail by quoting from the original texts, mainly the Nāṭyaśāstra of Bharata and Abhinaya-darpaṇa of Nandikeśvara. Dr. Manorama’s research is intricately blended into the basics, in aspects such as identifying nṛtta, nṛtya and nāṭya and the evolution of the system of aḍavus of the Bharatanatyam. The origin of different styles of Bharatanatyam in Karnataka and a bird’s overview of the different genres of dance forms of India make the learning wholesome.

In the practical sections of the book, a detailed treatment of the yoga exercises is given as preliminary to learning of dance. It is followed by the description of different kind of  aḍavus, hastas and the other aspects of āṅgikābhinaya along with the original verses, their meaning and application. The descriptions are aided by visual representation of the movements using line sketches. Nāṭya, being a composite art form, the aspects of vācika, āhārya and sāttvika abhinaya are also given detailed treatment. In addition to this, the book has chapters on the practical execution pattern of the Bharatanatyam and defines the various aspects ranging from the Puṣpāñjali to the Tillāna. The chapters are organised by giving a timeline for the study of the contents and by dividing it into monthly-modules to be covered progressively.

On even a preliminary glance through the book, one can easily say that it will not only nourish a person learning the dance form but will also educate a connoisseur to make his art appreciation deeper. In this sense, the book can be said to be nartaka-sahṛdaya-śiksārtham. It does not stop there and also opens up avenues for possibilities of research to an inquisitive mind. Barring a few shortcomings in the design and the language, the book is a treasure. As Dr. Shobha Shashikumar (a dancer and scholar par excellence) aptly points out in her foreword the book does a tremendous job at blending together practise with theory. The systematic pedagogy presented only reminds us of the seminal work of Dr. Padma Subrahmanyam who rejuvenated the lost pedagogy and technique of the classical mārga as set by Bharata.

The book is optimally priced and we hope that all students and connoisseurs of dance put it to good use.

(Book appreciation By – Writer is Arjun Bharadhwaj (17th August 2018), Bangalore- multilingual scholar (English, Kannada, Greek, German, and French), poet, expert in cultural studies and linguistics, author of several books, organiser and convener of many seminar and conferences fellow for many renowned govt institutions being a research scholar. He is also former engineer by profession. At present Working as Asst. Professor in Amrita University Bangalore.)

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Nayikantaranga- Book on Nayikas (ISBN No “978-81-942228-0-4”)

Nayikantaranga– a research based referential book (ISBN No “978-81-942228-0-4“) on Nayika and Nayaka of artforms written by Dr Dwaritha Viswanatha, released by Shatavadhani Dr R Ganesh at Dance research symposium 2019 organised by Noopurabhramari and Nirmiti at Nirmiti Auditorium in the presence of Senior Kuchipudi exponent Vyjayanthi Kashi, Aesthetician, Senior Bharatanritya Exponent, Researcher Dr. Shobha Shashikumar (Foreward writer to book) Poet, Scholar, Dramatician Vidwan Korgi Shankaranarayana Upadhyaya and Researcher, Editor & Publisher Dr. Manorama B.N.

Appreciation by Shatavadhani Dr R Ganesh , while releasing of the book.

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Nāṭyāyana- A Journey of Dance from Bhāva to Rasa : Research oriented Book by Dr Shobha Shashikumar

NāṭyāyanaA Journey of Dance from Bhāva to Rasa’ truly describes the plethora of feelings like dreams, efforts, successes, failures, hopes, surprises, challenges, excitement, exhaustion etc. in the journey of any ardent pursuer of art, beginning from the learning of the form to the realisation of Rasa. Nāṭyāyana is a title to the ‘life sketch’ of every striving dancer in that way. The first section titled ‘Nāṭyāntaḥ-śodha (Dance: The Re-search)’ comprises of the research articles on fundamental concepts of the technical terminologies. In the second section titled ‘Nāṭya-bhārata (Dance: The Perspectives), the technical and aesthetic aspects are specifically given a personal and a social angle to make them relevant to the journeys at the micro (individual) and the macro (society) levels. This book is meant to cater to the interests of any dancer, dance researcher, connoisseur and art lover.

It is very helpful to understanding the concepts, philosophy of dance and also useful for exams too.

Dr. Shobha Shashikumar is an acclaimed Bharatanṛtya danseuse, choreographer, researcher, teacher and a writer. With the backing of the concepts of Alaṅkāra-śāstra, her special focus includes the aesthetic blending of the technique of ‘Mārga-karaṇas’ and ‘Bharatanāṭya-adavus’. She has been specially acknowledged for her presentations of ‘Kāvya’ and ‘Vedānta’ based literatures, which have been highly appreciated by scholars and common spectators alike. Being equipped with both theoretical and practical capabilities, she is one of the most sought-after resource persons.

Going through the writings of Dr. Shobha Shashikumar, I feel that the study of Indian dance has attained philosophical maturity.

– Śatāvadhāni Dr. R Ganesh, In his Foreword

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