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Dance. Sangam is the word in Sanskrit that signifies the confluence of two rivers. The rivers being so
original and independent in nature take their own courses, which are so different that one is often led to
believe that there never would be a possible event when two rivers would ever meet. But, Mother Nature
does spring her surprises by making the most unlikely events actually take place. The confluence of two
major rivers is also one such wonder of nature. Such place where the confluence or Sangam occurs is
considered a very holy place by the Hindus and such confluence also marks the coming together of two
cultures, traditions, thereby enhancing trust among the people. Such confluence most often is also
believed to be the union of energies, just as that of Prakriti-Purusha (female and male principles in
nature), Lord Shiva-Goddess Parwati. Devout Hindus throng the place of ‘Sangam’ to take a holy dip in
rivers believing that it would rid them of all sins and help them attain ‘Moksha’ or salvation.
causing the birth of the artistic geniuses of Carnatic music and Bharatanatyam. It was here that the art forms received utmost
patronage during the times of Sarfoji Maharaja who ruled Tanjavur. The dance form was called ‘Sadir’ and was performed by
Devdasis in temples, later on was performed in the courts of Kings, much later in the 1930s was once again revived and renamed as
‘Bharatanatyam’. The art form and the performers gained respect and recognition in society in the post-independence era due to the
persistent and diligent efforts of Respected Smt. Rukmini Devi Arundale.
Northern part of Peninsular India lies on the banks of the Ganges, and houses the resplendent tradition of Hindustani music and
Kathak. Originally performed in the village temples of Northern India, in the course of time, Kathak sought refuge in the courts of
Mughal Rulers. With the rise of the twentieth century, great Kathak maestros like Bindadin Maharaj and Kalka Maharaj took endless
efforts to re-establish Kathak in its original devotional form and dignity. Today, Kathak is rightly recognized as one of the most
developed and versatile dance forms of the country.
traditions of the North and the South. This Sangam of Bharatanatyam and Kathak shall
hope to be an equivalent to an almost impossible yet extravagant confluence of the two
great rivers Ganga and Cauvery. Sangam aims not only at bringing together the dance
forms but also the grandeur of Hindustani and Carnatic classical music disciplines. It
also aims at portraying the divinity of the energies in the form of Shiva-Shakti and the
Tandava-Lasya aspects of dance.
Sangam marks the coming together of two exquisite classical dancers of India, Parimal
Phadke : Bharatanatyam and Shambhavi Vaze : Kathak, most acclaimed and
established exponents in their chosen field of art. Through their vast experience as a
dancer, they recognize and merge the richness of both the traditions of dance, thus
enabling the audience to witness and experience the joys of rhythm and creativity.
Kathak dance from her mother and renowned Kathak Guru Mrs. Maneesha Sathe. She has also
had extensive training in Laya- Taal and it’s aesthetics from none other than Taalyogi Pandit
Suresh Talwalkar. She is trained in Hindustani vocal music with Guru Mrs. Mangala Vaidya. A
commerce graduate from BMCC, Pune, she has excellent command over French and has
completed MA in Performing Arts from Pune University’s Lalit Kala Kendra, with distinction.
Gandharva Mahavidyalaya has honored her with three prizes for securing highest marks in all the
centers of India in Nritya Alankaar Examination.
As a soloist, she has widely performed in all the major cities and dance festivals of India, to name a
few, Sharad Chandrika Festival in New Delhi, Swami Haridas Sangeet Sammelan, Raindrops
Festival, All India Classical Dance Festival in Mumbai, Pt. Vasant Rao Deshpande Smriti Samaroha
in Nagpur, Naad Surabhi Festival in Bangalore. With her mother, she has performed and
conducted workshops thrice in USA, six times in Japan and in Bahrain too.
A recipient of National Scholarship for Dance by Ministry of Human Resources, she has also been
honored with Singaar Mani award.
Council of UNESCO. She is a Mumbai Doordarshan graded artiste.
She is a faculty and Guru in the Center for Performing Arts of University of Pune. She runs a Branch of Maneesha Nrityalaya Kathak
Dance Institute for the past 13 years.
Her choreographic works presented in various stage shows and on the television have brought her a unique recognition as a
choreographer.
faculty to the Dramatics Dept. and Dance Dept. of CPA, University of Pune.
I am a 26-year-old male Indian classical dancer. I began my learning at the age of 4 ½ under Guru
Rema Shrikant of kalakshetra style. I learnt for 15 years under her. Since 1998 I am continuing my
training under Guru Dr.Sucheta Chapekar of Tanjavur style. I also did my masters in Bharatanatyam
under her. My dissertation in the final year was “ Angika (Body Language) in Bharatanatyam from
Bharata’s times till know”. The study of Angika(Body Language) is my area of interest. This study has
led me to Guru Jayashree Rajagopalan (disciple of Dr. Padma Subrhamanyam) where I am also
undergoing training in dance during Bharata’s times.
I feel I am trying to trace the past, blend in the present, and see the future. Thus, my experience in
performing and choreographing for dance deals with the following three main aspects-
1) Indian dance as was present during Bharata, the most ancient scholar on dance, drama and music.
2) Indian dance as is present today, the principles behind the repertoire of Bharatanatyam.
3) Dance as it would evolve for tomorrow.
© California Arts Association 2006