Get up, Woodbury! Here’s everything you need to know to get a good start on Wednesday.

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First of all, the weather forecast for the day:

Possible light rain overnight. High: 75 Low: 61.

Here are the best stories today in Woodbury:

1. A teenager from Woodbury was charged in connection with a accident that killed 17-year-old Garrett Bumgarner.(Woodbury Patch)
2. Saint-Paul Fire Department demand $ 600,000 of the city for integrated social worker program. (KSTP)
3. Two teenagers from Woodbury will perform a milestone indian classical dance later this month. (Woodbury Patch)
4. Minnesota DFL Senators Chosen Melisa López Franzen like their new caucus leader. (Brainerd Dispatch)
5. Senator Miller informs KSTP of their new role as Majority leader. (KSTP)

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Today in Woodbury:

• WELCOME WEEK – 50% OFF THE COURSE! Tickle Monster Art Workshop (18 months-6 years old) (9:30 am)

Woodbury Notebook

• Woodbury, MN Police Fire EMS: “On the 20th anniversary of the 9/11 attacks, our first responders honored the dead by participating in the 343 Tribute Run, engaging with the community at a block party and training at a controlled burn on Dale Road. While we … “(Facebook)
• U.S. National Weather Service Twin Cities Minnesota: “While we don’t expect any dramatic warming over the next week and a half, we’ll probably be running a few degrees above normal. In September, the average highs drop much faster than in August, as we lose about an hour and a … “(Facebook)
• U.S. National Weather Service Twin Cities Minnesota: “Here’s a rundown of what to expect this week in terms of the weather. Tuesday and Wednesday are shaping up to be dry and mostly sunny. We will warm up a bit on Thursday before a front moves from Thursday evening to Friday. # MNwx #WIwx “(Facebook)
• U.S. National Weather Service Twin Cities Minnesota: “Showers and thunderstorms return this afternoon and continue until tonight. A few severe thunderstorms are possible along with beneficial precipitation. Chances of rain return for Game and Friday.” (Facebook)
• Woodbury New Life Academy: “There is power in prayer. What a blessing to see students come together to pray for the needs of our campus, our community and our country. #WeAreNLA #SeeYouAtThePole” (Facebook)

• Saint Ambroise Catholic School: “Our school-wide virtue this year is generosity. The third graders brainstormed ways to be generous in different areas of their lives. This group wants to be generous in the classroom by loving others. and working together. #allyouneedis … “(Facebook)
• Woodbury Parks and Recreation: “Woodbury Days is looking for additional volunteers, to join current volunteers, to help coordinate the 2022 event! You can learn more about the different volunteer positions available, roles, tasks and more at an information meeting tomorrow, … “(Facebook)
• Town of Woodbury, MN – Government: “We encourage you to join the Minnesota Pollution Control Agency and the Minnesota Department of Natural Resources for a virtual community meeting on September 21, 2021 from 6 p.m. to 7:30 p.m. to review and ask questions about the concept. final conceptual … “(Facebook)

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I grew up in Eagan, Minnesota, before attending Winona State University, where I majored in creative digital media and a minor in journalism and creative writing. I am very happy to be a journalist in my hometown! In my spare time I like to paint, draw and write. I am currently working on my poetry manuscript and I also enjoy hiking and being outdoors.

Got a tip or suggestion for an upcoming Woodbury Daily? Write to me at [email protected]

Posted by Prachi Sharma

Body image is one of the important aspects of identity for many. In the context of the Indian classical dance scenario, bodily shame is a factor that has been entrenched in dancers since time immemorial: their bodies are often seen only in terms of consumption and catering for the upper castes, upper classes and men look. Referring to my own experiences as an Odissi and folk dancer, I would like to elucidate body shame and the resulting influence on body image in the Indian classical dance scene.

I remember starving myself to the point of throwing up and still going to class. That was until I realized that I have a certain body type and it’s completely natural. Instead of hating my body to look a certain way, I realized that I had to embrace it, learn to function with and within it, and adopt healthy habits for myself.

As a child, I did not know how to react to certain practices and standards that were imposed on me. I have somehow managed to think that this is how society is; that a dancer will be judged based on her physical appearance, mainly because a large part of her body is expected to have a certain appearance while making specific movements. And the movements would always be judged on the basis of the quality of your physique.

Read also : What is society’s problem with male ballet dancers?

Shastric standards for a dancer’s body

Although the Shastras defined what exactly a dancer’s body should look like, with the evolution of times and the evolution of the sense of aesthetics, these notions were also subject to change. The body of a dancer is disciplined through various processes such as exercises and a balanced diet. Regular practice is another important feature of training. Art forms like Kathakali also have various measures of bodily discipline which are believed to make the body fit for dancing.

When I had finished my performance, with the appreciation of a few, there would also have been a lot of surprise questions about, “How did I manage to be on this stage for an hour”? Apparently I didn’t seem to know how to dance.

The societal stigma that a heavier person isn’t supposed to dance and instead should focus on losing weight or conforming to what society thinks is a standard norm. However, I was not discouraged and spent days and nights in the studio practicing and practicing to be fair to the trust my teacher had placed in me and not give up.

Aesthetics of dance or aesthetics of the body

Visual imagery has proven to be important for connoisseurs to appreciate any art. The idea, at least when it comes to enjoying classical dance, is that what you see should make them happy. While this means aesthetic visuals, the truth is that true pleasure can only be achieved through the purity of emotions and expressions. Often, young dancers attempt to copy the art form with the facial expressions of great performers or artists that they individually admire. But in this way, we detach ourselves from the exploration and internalization of dance. I discovered how this adherence to the conventional expression of emotions and the lack of improvisation, in turn, restricts bodily autonomy. Different bodies behave and blunt in different ways. Your facial and bodily demeanor or expression may not resemble that of your teacher or your guru.

Since we live in our bodies, I found that I was constantly doing calculations of my body weight, my short stature, my energy level. I have negotiated through many such painful occasions with my wit, humor and persistence. During this time, I was training my body to be an embodied spirit with the right amount of patience, understanding and determination required for a passionate dancer.

Read also : Nrithya Pillai: the anti-caste dancer-activist gradually reviving Bharatanatyam

Group ethno-aesthetics

My personal experience over the past 15 years is one of rejection and neglect in some of the major productions of the institute. I was made to feel that I did not fit into either the group sequences or the solo staging. I was continually made to realize that my body was at fault no matter what I did.

The industry is so focused on what dancers should look like. What happens to caring about their talent? Why is it important for a dancer to be size double zero or size six if that doesn’t affect their dance? As dancers, we face a lot of challenges, whether it’s an injury that could stop our growth or career, whether it’s financial constraints, or dealing with conservative households where to follow art as Professional career choice is a big NO. During this time, I have observed how dancers seldom receive comprehensive, empathetic advice on how to live a healthy lifestyle. The emphasis is more on the physical appearance of the dancer, to somehow fit their body into a mold of conventional perfection overnight. Instead of relying on the abilities and artistic essence of the dancer, the focus is on what could be consumable and which will be good for the market.

In conclusion

The thoughts and experiences presented here are not only mine, but also spill over into those of many people who have given up their passion for dance or have had to succumb to societal norms. The technical details of the dance can be easily learned over a period of time, but the deep meaning and essence, which goes beyond creating similar bodies and similar models, requires determination, a willingness to change. and of course, a long-standing practice.

Prachi is an Odissi and a practitioner of folk dance. She wants to be a student all her life. She has been training in dance for over 15 years now. A graduate in Gender Studies, she wishes to understand the gender spectrum in the artistic world and to break down stereotypical perceptions among Indian classical dancers. She wants to see dance from a different perspective and adopt new measures to educate young people. You can find it on Instagram and Facebook.

Featured Image Source: Rotarynewsonline.org

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in Chennai (photo provided)

When quintessential dance master Madurai R Muralidharan, one of the greatest choreographers and dancers of the Indian classical format of Bharata Natyam entered the Guinness Book of Records on August 1, 2021, it was not a new achievement.

It was a hat trick, the third achievement for the world-class producer, director, songwriter and guru; except that the feat involved 900 people across continents.

It was a triple hat trick as Mr. Muralidharan entered simultaneously, for the third time, in the Asia Book of Records and the India Book of Records.

Many years ago, he received the title of “Kalaimamani”, the highest civilian honor awarded by the government of Tamil Nadu.

A humiliating experience

“I was touched by the dedication and enthusiasm of the participants. They were captured online performing as if they were in front of a large audience. I realized that they were indeed on the world stage, with the potential for billions of people watching their movement. They have done justice to the great art of Bharata Natyam, ”he said.

Mr Muralidharan said Lord Shiva, revered as Nataraja, the lord of the dances, was said to have been pleased with the simultaneous performance of hundreds of people.

About Madurai Muralidharan

Madurai R Muralidaran from Chennai is a renowned dance choreographer, who has received critical acclaim for his creations in Bharata Natyam. He has about 1000 compositions to his credit.

He has composed and released over 130 audio albums exclusively for Bharata Natyam artists around the world. His compositions reflect innovations in Thalam (rhythmic patterns), Ragam (melodies) and Themes.

Mr. Muralidharan has composed songs in the 35 Thalams of the “Sooladhi Saptha Thalam” Carnatic System, over 120 Varnams and Jatheeswarams in the 72 Melakarata Ragas. Creating compositions in the 72 ragas is an accomplishment that Shri Muralidharan shares with one other, the late Dr. M Balamurali Krishna.

Guinness and other records

Mr. Muralidharan composed complete Margams (repertoires) in 15 different Thalams.

His 2018 Rhythm Festival ‘Chaturvidham’ featured four Margams on a rare Thalam.

The festival culminated with a live class with over 320 students learning nattuvangam and choreography for an Alarippu staged on Sankeerna Jaathi Dhruva Thalam, the longest Thalam in the Carnatic system. This class set Guinness, India Book and Asia Book records for the greatest live Bharatha Natyam dance lesson.

Unique compositions

His unique compositions include a dance depicting everyday life on the soundtrack of a heartbeat, a Varnam on the sun god (Surya), a Shabdam on Jesus, a performance of Krishna’s dance on the five-headed serpent Kalinga , Kauthuvams on Mother and Father, a Keerthanam on the Indian Independence Movement and articles on women’s empowerment.

His compositions are frequently used by Bharatha Natyam dancers of different styles and regions.

Mr. Muralidharan’s thematic repertoires include Sri Anjaneya, which focuses on the stories of Lord Hanuman and Nayaka, exploring different roles in the lives of men from childhood to adulthood. He has composed several whole Margams in rare Thalams, including ‘Ashta Dasa Margam’, in Misra Jati Ata Thalam, Akhanda Margam, composed in Kanda Jati Ata Thalam, and Nava Dhruvam, composed in Sakeerna Jati Dhruva Thalam, the longest Thalam cycle with 29 Aksharas.

‘Madhura Geetham,’ a Times of India special publication, recognized him as a mainstay of Indian classical dance and music. He established the ‘Nrithyakshethra Dance Academy in Chennai in 1978 and has since trained over 1000 dancers.

in Chennai (photo provided)

When quintessential dance master Madurai R Muralidharan, one of the greatest choreographers and dancers of the Indian classical format of Bharata Natyam entered the Guinness Book of Records on August 1, 2021, it was not a new achievement.

It was a hat trick, the third achievement for the world-class producer, director, songwriter and guru; except that the exploit involved 900 people across continents.

It was a triple hat trick as Mr. Muralidharan entered simultaneously, for the third time, in the Asia Book of Records and the India Book of Records.

Many years ago, he received the title of “Kalaimamani”, the highest civilian honor awarded by the government of Tamil Nadu.

A humiliating experience

“I was touched by the dedication and enthusiasm of the participants. They were captured online performing as if they were in front of a large audience. I realized that they were indeed on the world stage, with the potential for billions of people watching their movement. They have done justice to the great art of Bharata Natyam, ”he said.

Mr Muralidharan said Lord Shiva, revered as Nataraja, the lord of the dances, was said to have been pleased with the simultaneous performance of hundreds of people.

About Madurai Muralidharan

Madurai R Muralidaran from Chennai is a renowned dance choreographer, who has received critical acclaim for his creations in Bharata Natyam. He has about 1000 compositions to his credit.

He has composed and released over 130 audio albums exclusively for Bharata Natyam artists around the world. His compositions reflect innovations in Thalam (rhythmic patterns), Ragam (melodies) and Themes.

Mr. Muralidharan has composed songs in the 35 Thalams of the “Sooladhi Saptha Thalam” Carnatic System, over 120 Varnams and Jatheeswarams in the 72 Melakarata Ragas. Creating compositions in the 72 ragas is an accomplishment that Shri Muralidharan shares with one other, the late Dr. M Balamurali Krishna.

Guinness and other records

Mr. Muralidharan composed complete Margams (repertoires) in 15 different Thalams.

His 2018 Rhythm Festival ‘Chaturvidham’ featured four Margams on a rare Thalam.

The festival culminated with a live class with over 320 students learning nattuvangam and choreography for an Alarippu staged on Sankeerna Jaathi Dhruva Thalam, the longest Thalam in the Carnatic system. This class set Guinness, India Book and Asia Book records for the greatest live Bharatha Natyam dance lesson.

Unique compositions

His unique compositions include a dance depicting everyday life on the soundtrack of a heartbeat, a Varnam on the sun god (Surya), a Shabdam on Jesus, a performance of Krishna’s dance on the five-headed serpent Kalinga , Kauthuvams on Mother and Father, a Keerthanam on the Indian Independence Movement and articles on women’s empowerment.

His compositions are frequently used by Bharatha Natyam dancers of different styles and regions.

Mr. Muralidharan’s thematic repertoires include Sri Anjaneya, which focuses on the stories of Lord Hanuman and Nayaka, exploring different roles in the lives of men from childhood to adulthood. He has composed several whole Margams in rare Thalams, including ‘Ashta Dasa Margam’, in Misra Jati Ata Thalam, Akhanda Margam, composed in Kanda Jati Ata Thalam, and Nava Dhruvam, composed in Sakeerna Jati Dhruva Thalam, the longest Thalam cycle with 29 Aksharas.

‘Madhura Geetham,’ a Times of India special publication, recognized him as a mainstay of Indian classical dance and music. He established the ‘Nrithyakshethra Dance Academy in Chennai in 1978 and has since trained over 1000 dancers.

Through Express news service

The Center for Indian Classical Dance (CICD) is organizing Dance of India @ 75, a first-ever virtual classical dance competition, in association with the Almond Virtex virtual events platform. The four-day online event that kicks off on July 24 will be broadcast across OTT platforms, TV channels and social media. The jury is made up of experts, gurus, divas and eminent personalities.

Organized under three themes, namely Atmanirbhar Bharat, Viswaguru Bharat and Unsung Heroes of India, the competition will cover eight major Indian classical dance forms such as Bharatanatyam, Kathak, Manipuri, Kuchipudi, Mohiniyattam, Sattriya and Kathakali.

The artist community was under a lot of pressure after the March 2020 lockdown. With the closure of auditoriums and recording studios, artists were running out of their source of income. The event gives the opportunity to all these artists who are struggling to make their comeback to showcase their talents on the virtual platform.

Padma Vibhushan Dr Sonal Mansingh founded CICD in 1977. Since then he has consistently worked to promote Indian classical dances and the artist community as a whole. “It is high time that we overcome the agonizing shock of the pandemic and attempt to develop a new way of presenting the performing arts. Our young generation of dancers deserve good platforms where they can share their ideas and creativity without the fear of incurring huge expenses.

They need encouragement and a purpose to be able to pursue this noble art, ”she says, adding that it is important to explore new avenues for performances that provide a stable livelihood to the artist, retaining the originality and classical nature of our art forms. especially the dances. “The young and energetic Almond team helped us imagine a solution that will solve many of our problems today,” says Dr Mansingh.

“We are happy to support the artist community in these unprecedented times. We support the CICD with vital support to introduce the new normal in the performing arts and thus motivate artists. With our platform and the financial support of CICD, artists will be able to support themselves during this crisis caused by the pandemic, ”said Abhinav Jain, co-founder and CEO of Almond Solutions.