Looking back at IPAC 2024 Australia and why this edition was so special
In its fourth year, Indian Performing Arts Convention (IPAC) Australia 2024 extended across nine days from May 18 until May 26, 2024. The Convention included Masterclasses by some of India’s most accomplished performers and gurus as well as lecture- demonstrations that offered insights into the beauty and complexities of Indian classical music and dance, and – of course – performances by local and international stars.
The Convention was curated by Aravinth Kumarasamy, Artistic Director of Apsaras Dance Company, Singapore. The Convention also featured a Bharatanatyam showcase by Advanced and Intermediate Masterclass participants including the premiere of a new work, and a Carnatic music showcase performance by the participants of the Masterclass that included premieres of two works
IPAC World Premieres
One of the most exciting features of this year’s IPAC Australia was the inclusion of four world premiere performances. Three of these were the fruits of the 2023 Creative Development Residency program which offered emerging Australian practitioners the chance to work with legendary Indian mentors – PriyadarsiniGovind in Bharatanatyam, and R K Shriramkumar in Carnatic music.
The first premier was – Masterpieces of Dikshitar by Akshayan Manivannan. This version of Shri Nilotpala Nayikehighlighted Dikshitar’s serene handling of the Reethigowlairagam, intact with its authentic suddha dhaivatham prayogamsand chittaiswarm passage.
This was followed by a magnum opus composition – Shri Valmika Lingam, which showcased a unique, grand vision of Kamboji ragam, where Dikshitar masterfully intertwines layam and sahitya within the rarely heard kanda jathiata talam. Talam was by Krishna Ramarathinam and Mridangamwas by Sai-Nivaeithan
The second premiere was – Sapta Taala Sapta Maala by Krishna Ramarathinam. The concert featured three unique pieces. The first piece was an original composition of Krishna, a Tamil Varnam composed on Lord Hanuman in Ragam Poorvikalyani. The second piece was also an original composition in Sanskrit. It was a Raagamaalika and Taalamaalika piece dedicated to the significance of Sapta (7) in Hindu Dharma. Each line explored a spiritual concept within Hindu Dharma embellished by an appropriate raaga and taala. The concluding piece was a composition by Vidushi Padma Veeraraghavan in the raga Navaneetham.
The third premiere was a new work The Pursuit of Happiness created and choreographed by emerging Melbourne-based star, Rukshikaa Elankumaran under the guidance and mentorship of Priyadarsini Govind. This exciting new work involving seven dancers was developed as part of last year’s IPAC during an intense one-week in-person conception phase with Priyadarsini, and further refined with online and in-person workshopping leading up to the premiere. The Hedonic Treadmill is a psychological metaphor explaining the human tendency to pursue one pleasurable experience after another, without an increase in baseline happiness. This Bharatanatyam ensemble work explored the Vedantic philosophy behind happiness, by following the story of a young girl who manages to escape this metaphysical trap and find eternal bliss through dance, spirituality and self-realisation. The dancers included Aba Rosewinny, Alicia Roy, Aparna Shastry, Arpitha Shastry, Keerthi Jaishankar, SharanaaJeyaroopan and Rukshikaa Elankumaran.
The music was directed by Beven Elankumaran and the vocals were by Ahilan Sivanandan, Shradha Ganesh, Rukshikaa Elankumaran, Beven Elankumaran. The accompaniments wereBhavani Prasad and B Muthukumar while percussion was by Satheepan Elankumaran.
The fourth premiere, Three Bright Stars, was the result of an unique collaboration between three of India’s most creative and adventurous artists; singer Dr S Sowmya, violin virtuoso Lalgudi Vijayalakshmi, and Bharatanatyam artiste, Rama Vaidyanathan. Stemming from an idea by Aravinth Kumarasamy, these three ‘stars’ developed an extraordinary 90-minute work that melded new compositions by the musicians with inventive and dazzling choreography from Rama. With a significant level of improvisation, the audience was gripped by the palpable communication between the artistes.
With support from local Australian legend, Ravi Ravichandhira on mridangam, and Mohanapriyan Thavarajah from Apsaras Dance Company, Singapore on the Nattuvangam, the performance exuded a palpable sense of joy and adventurousness. There is considerable interest in remounting this performance in India and Singapore.
