The Park’s
The Other Festival - 2003
Music. Dance. Drama.
Art. You.
The Chinmaya
Heritage Centre, Chennai
# 2, 13th
Avenue
Harrington
Road, Chennai 600034 |
|
• CRITICS SPEAK
ON The
Park’s THE OTHER FESTIVAL |
It is a
festival that came about tentatively in a city where traditional arts plays
its dominant role. If it has transcended conventional wisdom and practices
then surely it means that tradition can co exist with the modern - which
is putting it simplistically. The fact that along with the festival, audiences
too have grown and that too with a great deal of enthusiasm judging by
the number of sponsors who wish to be part of this movement, is not only
heartening but also in its own way a process of evolution.
Chitra
Mahesh, THE HINDU, Friday, Dec 05, 2003
|
The Other
Festival, now branded by the Park group of hotels, should, I feel, be made
bigger. Better advertising = more visibility = larger crowds. Appreciation:
Anita, Ranvir, Devika, Indira, Satyajit, Kumar, Venkatesh, and that perky,
efficient bunch of young people from Studentconcepts..
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
BEING ABSTRACT
has its advantage. Everything is open to interpretation and there is pure
freedom of expression. It is on these lines that the Prakriti Foundation
and Arangham Trust conduct The Other Festival this year at the Park… It
would seem that anything that is the other is possible under the minimalist
stage at the Chinmaya Heritage Centre where all these have been playing
out for the past week. And if audiences sit trapped or rapt, this is all
the part of the process called art unwinding.
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
ON ZOHRA
SEGAL: December 1, 2003 |
A woman
who symbolises the true spirit of womanhood — a woman you would be proud
to be. Zohra Segal — 91-year young person who can remember long lines of
poems without much trouble. It seemed rather fitting that someone like
her opened The Park- Other Festival on December 1 this year at the Chinmaya
Heritage Centre, Harrington Road. For now into its sixth year, it needs
the gracious presence of Zohra who is a symbol of longevity and persistence.
Assisting
her with the English recitation were Tishani Doshi and Priyamvada Purushotam,
and when the 50 minutes of magic were over on popular demand Zohra went
on to repeat the speech she made at Red Fort, Delhi for the 50th Anniversary
of India's Independence - filled with a fervour that is unique in everyway.
Hers is a performance to be remembered for posteri.
Chitra
Mahesh, THE HINDU, Friday, Dec 05, 2003
|
Zohra zaps
you with her wit and wisdom. This 91-year-old thespian who “loves to flirt”
is outrageous and innocent in equal measure.
Lalitha
Sridhar, Madras Plus, Dec.4, 2003
|
Ninety
plus and hilarious…she is irrepressible. Amazing. Charming. Loads of fun…There
was never a dull moment with Zohra…Twelve poems later, the audience wanted
more. And the chuckling grand old lady was only willing to entertain them…Zohra
truly had the audience captivated.
Jemima
Raman, CITYEXPRESS, Wednesday, Dec. 3, 2003
|
The quick
turn of her head, a deft hand gesture, a clear voice seem to tell you she’s
only pretending to be old… Zohra’s performance was a lesson in ‘gestural’
mime and verbal delivery to both actors and afficionados… She went from
happy to sad to angry to resigned to winsome to naughty to…and then, whenever
she smiled her famous smile, the audience beamed along.
Ranjith
Bhaskar,www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
ON TAIPEI
LI YUAN CHINESE OPERA THEATRE: Dec.2, 2003 |
There were
moments in the Taipei Li-Yuan Chinese Opera performance of "The Woman Who
Went Mad Upon Losing Her Son", where poetry entered the sphere of dance.
It was created in the never-ending gyres and spirals of Huang Yu-lin's
36-inch water-sleeves of white silk.
The grief
that is produced over the loss of a child… is visceral, it unfolds, it
peaks, falls, whirls about. It is never anything direct or linear, but
an inexpressible feeling trapped in a gyration, a spiral, a water-sleeve;
moments of clarity set upon waves of pure chaos. Along with the discordant
musical accompaniment, the experience is something akin to being rattled
and pulled out of one's own body and skin. Perhaps this is the point. At
any rate, the answer lies in the Shui Hsiu, those magical water-sleev.
Tishani
Doshi, THE HINDU, Sunday, Dec.14, 2003
|
A completely
unfamiliar theatrical style and language… Both the actresses sang and spoke
in a musical high-sigh; hitting the high Cs and upper octaves seemed no
problem to either of them. After the performance, answering questions
through an interpreter who travelled with them, the two actresses explained
techniques and cleared doubts. Explaining their flexibility (and demonstrating),
they said that their training started when they were 8 years old…
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
Just in
case the uninitiated wondered about the gliding feet and squeaky voices
produced by the Li Yuan Chinese Opera theatre from Taiwan on December 2,
it was made clear at the end of a beautiful, if unfamiliar, performance
that it takes years and years of practice and great skill to do that...Chinese
opera seems all at once abstract and full of pageantry.
Chitra
Mahesh, THE HINDU, Friday, Dec 05, 2003
|
The use
of 36 inches long “water sleeves” of white silk was unique as props and
to show emotions. Even though the vocals were in Mandarin, the emotions
could be understood because of well modulated voices…a different 30 minute
performance.
Savitha
Suresh, CITYEXPRESS, Thursday, Dec. 4, 2003
|
It was
a recital that displayed a genuine love for Indian classical music from
the Carnatic style to the Hindustani overlaid by western strumming - voice
and instrument combined to provide moments of pure melody… Singing in swaras
and tiny alaps Nadaka went over a range of ragas beginning with Hamsadwani.
He slipped easily into the two modes (Hindustani and Carnatic) of brief
unravelling of the ragas and one could not decide which one sounded better.
Chitra
Mahesh, THE HINDU, Friday, Dec 05, 2003
|
Nadaka
played on his acoustic guitar which he designed and built to adapt to the
subtle tones of Indian music. He created a meditative atmosphere for people
to relax. Somnath accompanied Nadaka on the tabla.
Savitha
Suresh, CITYEXPRESS, Thursday, Dec. 4, 2003
|
It was
not the type of the proverbial ‘incendiary’ guitar performance that the
world expects each time somebody picks up a guitar… A man seemingly committed
to his music, devoted to his instrument; Nadaka comes across as a simple
man.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
ON BRIGITTE
REVEILI’s “NEVER FOR EVER”: Dec. 3, 2003 |
The depiction
was a visual treat using as they did costumes that were fluorescent (the
colours of blue and green to signify the birds) and that against pitch
darkness, stood out with electric appeal — a kind of a fantasy setting
to tales that are ancient and much known… The tales are nice, but brevity
could have made the show powerful.
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
A tale
of cows and owls interwoven with French moral stories, a Japanese puppetry
technique and Kathakali style music. Convoluted? Creatively inspired! An
ultra classy performance casting a spell on the audience with a gloriously
inventive story-telling technique.
Dhanya
Parthasarathy, CITYEXPRESS, Dec.5, 2003
|
The stage
exploded in the blackness of a primeval soundscape… a powerful convergence
of sound, content and superb visual imagery. In darkness, the soft lights
caught the parts of the paper-and-wire costumes painted with fluorescent
colours, emphasising bird shapes that touched upon fantasy…The production
is clever with a dose of saucy innocence. The use of a very basic held-together-with-strings-and-tension
slide (painted glass) projector to support certain fables was innovative…The
only blue note was that the tempo was slack at times…
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
ON PRITHAM
CHAKRAVARTHY’s “VELLAVI”: Dec.4, 2003 |
Monologue
can be riveting especially if the actor is dynamic. And Pritham Chakravarthy
was… you cannot help but admire her confidence and attitude that transformed
her space into a dhobi ghat — with just her conversation and saris that
were the props… Vellavi alternated between the woman from a remote corner
of Tamil Nadu and the city person that is Pritam. Something Pritam explained
after the performance — it was Pritam telling a story of Vellavi! So you
would have to accept those merging, changing lines between the personalities!
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
‘Vellavi’
was a just straight narrative. Pritham has the knack of holding a person’s
eyes for effect – when talking or in pause. Such visual interaction with
the audience is rare these days. She is a good actress through her movements.
Her expressions, though, seemed a wee bit contrived, and her accent, in
some instances, sounded artificial and formal.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
A piece
of superb solo theatre…Pritham slipped into the accent and slang as to
the manner born. And all her talk glowed with the humour, the absence of
self pity and that earthy shrewdness which enabled the dhobis of that time
to survuve in a harsh environment. They have gone with the wind, taking
their donkeys with them. But they deserve a salute. And Pritham gave them
just that.
N.
Vaidyanathan, CITYEXPRESS, Dec.11, 2003
|
The solo
theatre performance was just plain-talk kept simple with minimum props
and sets…a realistic portrayal.
Savitha
V., CityExpress, Dec. 6, 2003
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ON DANCERS
GUILD’s “SHE SAID”: Dec.4, 2003 |
“She said”
showcased the girls’ dancing skills, along with few basic kalaripayattu
movements that have become a prerequisite for contemporary-dance choregraphy.
A strip of red cloth, a few umbrellas, a crushed newspaper, a movable square.
These were the props… The music, by Kolkata band Chakravyuha, was a welcome
distraction. The song ‘Ipshita’ was melodious, with rich guitar chording.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
A plethora
of colours, props and sets brought with it a certain amount of intrigue…colourful
costumes and tappy music. But it was not mere steps and rhythm; it was
more of a dance-drama.
Savitha
V., CITYEXPRESS, Dec.6, 2003
|
ON LEE
SIBLEY: Dec 5, 2003 |
Being Abstract
has its advantage. Everything is open to interpretation and there is pure
freedom of expression… So if Lord Krishna can be a woman, then Crows and
Owls can quarrel; and if something she said can find manifestation, then
so can Lee Sibley's version of music or to be specific, singing!
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
A very
Western classical rendition of Rabindra Sangeeth…
Express
Features, CITYEXPRESS, Dec.11, 2003
|
The high
key vocals were lilting enough, but sounded just that little bit hollow.
The operatic vocal inflections and scale modulations, by themselves, were
fine; but was an unneccesary touch to the rich and melodious form intrinsic
to Rabindra Sangeet.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
ON NISSAR
ALLANA’s “THE MAHABHARAT PROJECT”: Dec.5, 2003 |
What come
about on the stage was something tremendously serious and contemplative.
It was made different with the production values — lighting was used to
highlight the dramatic element in ways not often done here, martial arts
(choreography — Rashid Ansari) came in to raise the proceedings actors
who were clothed in costumes (Amal Allana) that defied normal norms, using
cymbals and the digreedo (sound design-Kabir Singh) for that blended with
the concept, and voices that wailed and mourned the loss of a son and a
warrior.
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
Rashid
Ansari’s choreography was innovative, strong and balanced, and, with his
serenely wild countenance, his didgeridoo, rain stick and his katana, lent
a latent, quiet menace to the proceedings on stage. Of the three Karnas,
Manish Chaudhari was by far the best and the most expressive. The sound,
designed by Kabir Singh, was built up around the didgeridoo and provided
a sinister, dark soundscape that suited the concept. The piece was directed
by Zuleikha Chaudhari… in its entirety, it was a fine and impressive production
– by all definitions. Nissar certainly hit a winner here in Chennai.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
Music,
dance, drama, art and an entranced you…that was the effect of day five
of The Other Festival had on you. The Mahabharat Project, a spectacular
dance-drama project, stole the day – lock-stock-and barrel! Striking body
movements, backed by intense sound track, added to the powerful effect
of the show.
Express
Features, CITYEXPRESS, Dec.11, 2003
|
ON SALIM
GHOUSE’s “SUFIANA”: Dec. 6, 2003 |
Ghouse
blitzed through the performance, supported by adept role-play by his wife
Anita, and Rakesh Iyer, both of whom donned multiple roles. Backed by a
strong script, the Players glided smoothly through scenes with effortless
transition.
The script
was well written, with society, politics and life finding their way into
the lines. The repartees though, were mostly clichéd, and sometimes,
stale. The scenarios were placed intelligently, without insulting the sensibilities
of the audience.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
|
Illusion
and reality – the story of Salim Ghouse is one that seems destined to slide
between both.
Brahmma
Raju, Madras Plus, Dec. 13, 2003
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Sufiana
was full of witticisms…The production was quite the family affair, with
Ghouse in the lead, his wife Anita Salim and their son who was “the official
promter” and Rakesh Iyer.
Susan
Muthalaly, CITYEXPRESS, Dec. 8, 2003
|
Supported
by a brilliant begum (his real life one too) in Anita Salim, Ghouse strode
the stage in total control with one scene seamlessly running into another…
Ghouse is a performer of dauntless energy and the high voltage performance
made the proscenium crackle - from the moment the dark stage, built up
to a charged silence, was split open to reveal the mullah on his back,
to the precisely executed martial arts finale.
Kausalaya
Santhanam, THE HINDU, Friday, Dec.8, 2003
|
ON MAYA
K RAO: Dec. 7, 2003 |
When Maya
K. Rao came on stage on the final day of The Other Festival, many in the
packed hall were stunned or taken aback — by her incorrigible sense of
dressing (costume — Varun Sardana), her deep, throaty voice that told stories
of her past and of events in the country, the funky style of music (Ashim
Ghosh) that had a bit of rap, a bit of rock and a bit of melody and the
clever use of graphics and images (Mimansa Sahay) video (Surajit Sarkar)…
A Deeper Fried Jam —comprising dance, music, theatre and video was something
that blended a bit of old world charm with contemporary sounds… Maya has
evolved a style that imitates the cabaret of Helen (in her words) and the
energy of rock artistes of another world.
But it was
difficult to slot her and that could be because she represented the true
spirit of The Other Festival — not to be qualified, quantified or analyse.
Chitra
Mahesh, THE HINDU, Friday, Dec 12, 2003
|
She sang,
danced and created moods…Maya K Rao captured her audience from the very
first act. It was music, dance, theatre and a play of technology.
SV,
CITYEXPRESS, Dec. 9, 2003
|
The performance
(can I call it a blues-rock cabaret, Maya?), delivered through multiple
media, rocked on different levels… Music was the backbone of this production.
Ashim ably backed Maya through the many facets of this production…He collaborated
with Maya to bring the sound to her act. Maya is an excellent singer herself…with
her bluesy tone and clear pitching, it was Maya’s night all the way.
Maya sang. Maya moved. Maya rocked. Maya grooved. We, the smug audience,
lapped it up. We loved it.
Ranjith
Bhaskar, www.narthaki.com, Daily Review on The Park’s THE OTHER FESTIVAL
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• What
is The Other Festival?
• The Other
Festival • 2003
• Organizers
Speak on The Other Festival • 2003
• Sponsors
Speak on The Other Festival • 2003
• Photo
Gallery • 2003
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