Drishtikon Dance Foundation is committed to community outreach. Since its inception, it has constantly worked towards social change by imparting dance education, enabling dance research as well as supporting artists in need. The Foundation has been working towards this goal by presenting fundraising initiatives like WITHIN... From Within, the Baithak series in support of emerging artists and conducting classes for students belonging to the marginalised community.
During the pandemic, for over two years, the Drishtikon repertory members have been conducting both offline and online Kathak classes (depending on prevailing situation) for students from economically weaker sections via the Sarvam Shakti Foundation. The young girls who attend the classes are from Vasant Kunj, New Delhi (48 girl students) and Gurugram (18 girl students). The Drishtikon Dance Foundation will continue to impart dance education and is committed to help and uplift the life of the underprivileged section of the society.
Videos of the classes in progress can be viewed at the links below
- Outreach Programme: Vasant Kunj, New Delhi (Video 1)
- Outreach Programme: Gurugram, Haryana (Video 2)
- Outreach Programme: Gurugram, Haryana (Video 3)
Photo - Repertory member Minhaz Khan holding classes in the park, for students from Sarvam Shakti Foundation.
- Dr. Sunil Kothari Award for Emerging Artist
Gaurav Bhatti
Rupanshi Thakrar
Ivana Sarkar
- The Parabola Of Dance, Performance
& Process
Gauri Diwakar
Rashmi Uppal
Gaurav Bhatti
Aamrapali Bhandari
Arushi Mudgal
Dheerendra Tiwari
Vinay Tiwari
Anukriti Vishwakarma
Narayan Sharma
- solidarity events
As part of INSANIYAT
As part of INSANIYAT
As part of INSANIYAT
& Masterclass Series
Drishtikon Dance Foundation aims to impart Kathak knowledge and provide a sustainable and holistic dance practice. The Foundation was pro-active during the pandemic (2020 - 2022) and successfully delivered the following online Kathak workshops for practitioners from around the world.
Across_Dance
Across_Dance: Elements Abstracted | Exploring the five elements of nature: fire, water, wind, earth & ether.
Presented in collaboration with Aakash Odedra Company, UK.
September 2020 | 5 Days online workshop.
Sparsh
Learn the Tarana performed in the film SPARSH, directed by Aditi Mangaldas and performed by the Drishtikon repertory.
The work explores the grandeur of the monsoon.
January 2021 | 6 Days online workshop
Naman I
Ganesh Stuti - An invocation to Lord Ganesh.
Learn the choreography by Aditi Mangaldas & gain access to the specially composed music.
June 2021 | 2 Days online workshop.
Naman II
Guruve Namah - Invoking the Guru through the Five Elements
Learn the choreography by Aditi Mangaldas & gain access to the specially composed music.
February 2022 | 4 Days online workshop
Naman III
A tarana in 11 matra & a piece on the poetry of Maithili Sharan Gupt
Learn the choreography by Aditi Mangaldas & gain access to the specially composed music.
August 2022 | 2 Days online workshop
Elements Abstracted
Fire, Earth, Water, Wind & Ether | Learning from Nature
A masterclass designed to rethink form, line, tone, and texture by observation of the elements in different forms.
June 2023 | At National Centre for the Performing Arts (NCPA), Mumbai
Elements Abstracted... learning from nature January 2024 | At New York University Abu Dhabi, UAE
Reimagining Dance Costumes April 2024 | As part of Mudra Dance Festival (Celebrating Aharya), NCPA Mumbai
Exploring and Transforming The Elements (Fire and Water) into Abstract Dance Narratives May 2024 | At Korzo Nobelstudio, Korzo Theater, Den Haag, Netherlands
Naman IV
An invocation to the Devi and an exploration of Taal Ashtamangal
Learn the choreography by Aditi Mangaldas & gain access to the specially composed music.
December 2024 | 2 Days online workshop
Series - Home Studio
Outside Home Studio
by Senior Gurus
Abhinaya Workshop with Guru Sushri Leela Samson
Why workshop on Abhinaya?
To express anything, may it be through the body, the face or mudras, we need specific tools, a specific vocabulary. We have a very specific and detailed system when we practice our Nritta. Very defined and detailed vocabulary and building blocks to attain a certain proficiency to express ourselves through the medium of pure dance. But do we give Abhinaya the same attention? Or merely overlook it by saying that it is a question of "feeling" it!
A quote from a famous theatre actor, 'If every time I FELT the emotion I expressed on stage, I would go raving mad!' Don’t we need a systemised teaching of abhinaya? Understanding and expressing the emotion maybe more important than feeling it?
How does it work in the Indian Classical dance scenario?
At Drishtikon we have been pondering over some questions... ͞Feeling͟ an emotion does not necessarily mean it can be communicated or expressed! We need to evoke that ͞Emotion͟ in the spectator, with every possible tool at our disposal. Body language, facial expressions, Mudras and the final frontier, our eyes. This ability cannot be suddenly ͞felt" or it isn’t God given. Does evoking that emotion in the spectator necessarily indicate that the performer needs to actually ͞feel͟ that emotion?Or is it more to do with the performer having the right tools and vocabulary to express that emotion? In fact, to be totally empty one self, so that the emotion to be expressed passes through without conflict?
- by Aditi Mangaldas
- From the Studio