Profile: Jayanta Bhagawati: An Indian Treasure in Guyana! – By Dr. Dhanpaul Narine

Jayanta Bhagawati

Jayanta Bhagawati has made an indelible contribution to the culture of Guyana. He was sent in 2015 by the Government of India to teach classical dance to Guyanese. Jayanta was based at the Indian Cultural Center (ICC) in Georgetown but he traveled around Guyana to meet with the people and to get them interested in dance.

The ICC is India’s oldest outpost in any of its Mission abroad. It is more than forty years old and it has produced wonderful talents during its many years. The classes are open to all Guyanese and Jayanta is proud of its achievements.

Read More: Profile- Jayanti Bhagawati– By Dr. Dhanpaul Narine

Post a comment or leave a trackback: Trackback URL.

Comments

  • Clyde Duncan  On May 4, 2018 at 4:28 pm

  • Clyde Duncan  On May 4, 2018 at 8:37 pm

  • dhanpaul narine  On May 7, 2018 at 7:10 am

    Thanks Clyde, the music is soothing and she is extremely talented.

  • Veda Nath Mohabir  On May 7, 2018 at 9:28 am

    Who said Indian women so suppressed they can’t play Sax ?

    VedaNM.

  • Ron Saywack  On May 7, 2018 at 1:20 pm

    Great assemblage of talent: soothing, soulful and serenic.

    Thanks for sharing, Veda.

  • Veda Nath Mohabir  On May 7, 2018 at 2:48 pm

    Two of Bhai Jayanta Bhagwati’s predecessors, Hemant and Vaishali Panwar (daughter born in Guyana and considers it her home) are now domiciled in Toronto, teaching song, dance and the performing and arts.

    These srts have ancient origins:

    The Nāṭya Śāstra is notable as an ancient encyclopedic treatise on the arts,[2][8] one which has influenced dance, music and literary traditions in India.[9] It is also notable for its aesthetic “Rasa” theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness, and reflects on spiritual and moral questions.
    https://en.wikipedia.org/wiki/Natya_Shastra

    Also:

    Nritya (IAST: Nṛitya, नृत्य), also referred to as Nrit, Nritta, Natana or Natya, refers to “dance, act on the stage, act, gesticulate, play” in the Indian traditions.[1][2] It is sometimes sub-divided into two forms: nritta or pure dance, wherein expression-less movements of a dancer play out the rhythms and phrases of the music; and nritya or expressive dance, wherein the dancer includes facial expression and body language to portray mood and ideas with the rhythmic movements to communicate with the audience.[1]
    Nritya is broadly categorized as one of three parts of Sangita, the other two being gita (vocal music, song) and vadya (instrumental music).[3][4][5] These ideas appear in the Vedic literature of Hinduism such as in the Aitareya Brahmana, and in early post-Vedic era Sanskrit texts such as the Natya Shastra, Panchatantra, Malvikagnimitra and Kathasaritsagara.
    Nritya and Nata appears in Vedic era literature. For example, section 4.104 of Unadi Sutras mention Nata as “dancer, mime, actor”.[2][6] Panini too mentions the terms Nritya and Nartaka respectively as dance and dancer, in his treatise on Sanskrit grammar
    https://en.wikipedia.org/wiki/Nritya

    VedaNM.

    • Ron Saywack  On May 9, 2018 at 8:08 am

      Interesting transliteration and useful, educational info. Well done, sir.

  • dhanpaul narine  On May 7, 2018 at 3:25 pm

    Thanks Veda, great sax!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: