Digital Events

In our June digest of the digital events we have an update from several conversations & talks by Apsaras Arts. On June 19th, Artistic Director Aravinth Kumarasamy delivered a speech on “The intangible across time and space” at the Ojas Sangam presented by Upasana Arts; On June 18th Soumee De, Odissi faculty, was featured as a panellist speaker at the Odissi Symposium by Chowk; on June 20th the Spotlight series by Apsaras Arts presented Sai Shravanam on his creative process of behind his latest musical score release “Rivers of India”Productions; on June 29th Mohanapriyan Thavarajah, Resident choreographer and author presented his research and explorations to the docents at Indian Heritage Center. Read more…

Upasana Arts presented Ojas Sangam featured Aravinth Kumarasamy, Artistic Director on the topic “The intangible across time and space” on 19th June 2021

He shared and elaborated his personal inspirations and research learnt and applied in Apsaras Arts productions – Nirmanika (2011), Angkor- an untold story (2013), Anjasa (2017), Amara (2020) which he conceptualised and created with ensemble dancers. The conversation hosted by Deepa Ganesh delved deep into these South East Asian themes from temple architecture, Indian epics storytelling’s interconnectivity and interpretation and the journey in creating these unique works.

You can watch this conversation here

The Chowk Reprise: Odissi Symposium panel discussion with Singapore’s Odissi teachers featuring Soumee De, Faculty, Apsaras Arts Academy on June 18th 2021

Curated by Chowk Productions, The Chowk Reprise was a 3-day online symposium that brought together an internationally renowned lineup of traditional masters, contemporary practitioners and scholars of dance from Singapore, India and the United States, to discuss these questions and more, sharing their work and their vision for the future of classical and contemporary dance. On the opening day June 18th, after digital lecture demonstrations by Odissi Gurus and practitioners like Smt Bijayini Satpathy and Guru Ratikant Mohapatra, the Singapore based teachers presented their vision and teaching methodologies over a panel discussion format. Soumee De, Faculty Apsaras Arts alongside Indu Vijay from Bhaskar’s Arts Academy, Kalaiveni Kumareswaran from Temple of Fine Arts and Sandhya Suresh from Chowk discussed their own learning journeys, students, learning mindset, parents’ expectations how they envision training the next generation of Odissi practitioners.


Spotlight Series – Breaking the Sound Barrier – the Sai Shravanam way on June 20th 2021

Sai Shravanam shared insights on how he creates a musical score and demonstrated with his latest work “Rivers of India” released two months ago. This provided a detailed look at how voices, instruments are merged and synthesised and creative elements get incorporated in his creations resulting in a fresh perspective coherent with corresponding images which resonate and make the audience feel transported by the soundscape. He shared stories about working with A R Rahman and how recording takes place in his studio and the challenges caused in remote recording during the pandemic lockdown. More than 70 enthusiastic viewers and music students engaged in the Q&A. It was an inspiring session.

Temple Dance of Apsaras – a dancer’s view on Angkor Wat – a lecture by Mohanapriyan Thavarajah, Resident Choreographer & Principal Dancer for Indian Heritage Centre (IHC) – Friends of the Museums (FOM)’S Docents on 29th June 2021

Over 45 docents attended this online session where Priyan shared his research and explorations in cross-cultural connections between Indian culture from religion, epics, dance traditions and practice with the Khmer classical dance of Apsaras and temple iconography of Angkor Wat. He shared the images from his recently published book of the same name and showed them how these findings helped create the choreography and costume designs of Apsaras Arts productions – Angkor, an untold story (2013). There were several questions from docents especially with regard to the localisation of Khmer dance and music and the headgears used in dance costumes.


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