The Dance Pilgrim

    ChitAmbara is the non-profit performance and collaboration arm of the Saraswati Mahavidhyalaya (SMV) in Perth, Australia, and a sister organization of The Temple of Fine Arts Kuala Lumpur.   The institution “ whose vision is to be a centre for artistic and scientific learning, in keeping with holistic values, was the brainchild of the late founder Swami Shantanand Saraswati. His Holiness envisioned an institute where arts and sciences, ancient and modern, can be learned and explored, synthesised into a holistic experience for the student, since “Truth is One and Paths are Many”. The ultimate goal is to serve humanity through education. ‘Saraswati’ literally means ‘that which is constantly flowing’. ‘Maha’ means great and ‘Vidhyalaya’ translates ‘to seat of knowledge’, therefore “a great seat of knowledge that constantly enlightens the ever changing and moving mind.” ChitAmbara is working primarily towards creating a space for creative collaborations, nurturing talent and providing

This edited article shares the journey of Malaysian dancers not of Indian ethnicity or Hindu faith who completed their Arangetram which is a solo debut performance that announces the presentation of the trained Bharatanatyam dancer on stage to the public. In Malaysia, dance is often viewed as the performative symbol of ethnic identity, and national unity, or as a tourist attraction. This is showcased at all government-sponsored platforms including global summits, sports spectacles, and state banquets. Against this social and cultural landscape in Malaysia, this article focuses on and highlights how the practice of Bharatanatyam by non-Indian, non-Hindu dancers trained at ASWARA, blurs boundaries of race and religion in embodied ways. Norbaizura Abd Ghani, Mohd Yunus Ismail, Mohammad Khairi Mokthar, Imran Syafiq Mohd Affandi, and Fatin Nadhirah Rahmat who are Malay Muslims; four Chinese namely Elaine Ng Xinying, a Roman Catholic, Kimberly Yap Choy Hoong, a Protestant Christian, Madeline

From 25 April-2 May 2009, the ASWARA dancers were in the Philippines for the 1 st International Dance XChange Workshop and Festival 2009. This event was organized in conjunction with International Dance Day, which was instituted by UNESCO in 1982 and falls on 29 April each year. This event was organized by the National Committee for Dance, which is a division of the National Commission for Culture and Arts (NCCA) and is similar to the Ministry of Culture and Arts here in Malaysia. The entourage of ASWARA consisted of four male dancers and five female dancers who were students of the Year Two Diploma Programme, and myself as the Head of Delegation. This was a trip of many firsts. This was my first visit to the Philippines and I was naturally filled with anticipation, both about the country and the actual festival. I did not know what to expect as the scope and intensity of the festival were not mentioned in the letter of invitation. As always, I called on my ‘go with the flow' me

Saraswati Mahavidyalaya in Perth, Australia  This article reflects on SFOL 2010 and is timely as SFOL 2020: Reimagined, the Virtual Festival is about to be launched. Further projects include ChitAmbara which aspires to initiate various interdisciplinary projects and open the possibility for professionalism. The Swan Festival of Lights is celebrated in Perth, Australia in conjunction with Deepavali, the Hindu festival of light. Launched in 2008, it aptly uses light as its overarching theme. The Festival embraces the multifaceted local and migrant communities of the city through the arts, crafts and cuisine, as well as publicising itself as a ‘smoke- and alcohol-free family-friendly event’. The festival aims to provide a space for the interaction, understanding and appreciation of multiple cultures that form the fabric of Western Australia’s society. Presented by The Temple of Fine Arts Inc. and Annalakshmi Cultural Centre of Western Australia which are sister organizations of the Te