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Declined by 11 months ago. Last edited by Auric 5 months ago. Reviewer: Inform author.
- Comment: I've re-instatated the comment that you removed since it all seems to still be applicable. — jmcgnh(talk) (contribs) 07:22, 10 October 2018 (UTC)
- Comment: I can't immediately tell whether the subject qualifies as notable; you could help by adding something to the talk page Draft talk:Lakshmi Ramaswamy that makes your argument for notability more explicit by pointing out some (not more than 10) notability references and the criteria which those references demonstrate that she meets.
Vast swaths of this submission have no in-line citations as required for biographies of living people. Either provide proper references or remove those portions. In particular, we do not generally list every work by the artist nor every award.
Those are the major objections a reviewer would have to accepting the article. The comments below would not prevent acceptance, but will have to be taken care of by someone.
- Please see the manual of style on when to use boldface. MOS:BOLD
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Dr (Smt) Lakshmi Ramaswamy (born 7 July 1968) Founder and Director of Sri Mudhraalaya, Academy of Bharatanatyam in Chennai, Tamil Nadu is an Indian classical dancer, teacher, choreographer and researcher.. Graded ‘Top’ by Doordarshan (Broadcasting Television Network, Government of India), she is a Fulbright Fellow, a Senior Fellow at the Ministry of Culture (India) and a Guest Faculty at the University of Madras. She has paved her path through extensive training which has won her the titles of ‘Yuva Kala Bharati’ from Bharat Kalachar (2000),‘Vedantam Satyanarayana Award’ from Sri Krishna Gana Sabha (2012) and Acharya Kala Bharathi or the Best Guru Award from Bharath Kalachar (2016) amongst many others.
Dr Ramaswamy was born in Tirunelveli to Krishnan & Sundari. She started learning Bharatanatyam at the age of five from Smt Indira Krishnamoorthy . After her schooling from St Ignatius Convent, she pursued her bachelor of Commerce from Sarah Tucker College. Soon after her marriage, she moved to Chennai and trained under Padma Shri (Smt) Chitra Visweswaran at Chidambaram Academy of Performing Arts - CAPA . She was trained in Karanas under the guidance of Dr Padma Subrahmanyam , has honed her Abhinaya skills from Padmabhushan Kalanidhi Narayanan and studied Tamil literature from Dr S Raghuraman . With hard work and passion, Dr Ramaswamy became the first Doctorate from Madras University in Bharatanatyam.
Dr Ramaswamy is an empanelled artist of ICCR (India Centre for Cultural Relations) and the SZCC (South Zone Culture Centre). She has performed numerous solos and group dances in National and International festivals at prestigious venues across the world.
Dr Ramaswamy has presented papers in National and International seminars and conferences such as Semmozhi Maanadu (International Conference for Classical Tamil), ‘Dialogue through dance’ at Urbaniana University, Rome and ‘Methodology for institutional teaching in dance’ at Madras University. She has also done Lecture-Demonstrations in Sabhas (Cultural organisations that promote art & culture) of Chennai and in Golden Gate University, San Francisco. She has performed in many other countries like USA, UK, Canada, France, Arab nations, Australia and Sri Lanka.
As an author, she has published her book ‘Shall we know: Natya’ . She has also translated a book called ‘History of Tamil’s Dance’ by Dr S Raghuraman and has co-authored a book ‘Natana Kalaichol Kalanjiam’ (An encyclopaedia on dance terminologies). Lakshmi has also written lessons for the MA dance course at Annamalai University, Bachelors lessons for Alagappa University and course material for Prayathnam. She also serves as a consultant for Alagappa University and examiner for a couple of institutions and regional selection committees.
Dr Ramaswamy served as a senior teacher in ‘Chidambaram Academy of Performing Arts’, an institute of Padma Shri (Smt) Chitra Visweswaran for more than a decade. Later she started teaching youngsters at ‘Sri Mudhraalaya’. This institute started with three students and later rose in eminence. Dr Ramaswamy is known for an exceptional teaching methodology where each student is treated in a unique manner to bring the best out of them. Her way of teaching helps the students to improvise, analyse and think for themselves, laying emphasis on manodharma (improvisation). Dr Ramaswamy serves as guest faculty for the MA Bharatanatyam Course at the Music Department, University of Madras. Her students have won many competitions, National scholarships (junior and senior) and the acknowledgement of Tamil Nadu Eyal Isai Nataka Mandram. She has also conducted workshops in Chennai, Kolkata and also in the US and Canada.
Started in the year 1994, Sri Mudhraalaya is a registered society. The institution offers group and individual classes that aim at holistic training in practical dancing, theory and exercises, nattuvangam (an art of wielding cymbals as part of a live orchestra and to conduct a performance), stagecraft, stage management, stage presentation, production assistants, lighting, choreography and teachers training.
The students trained in this institute are not only graded artists of Doordarshan , but are also teachers in their own right and have conducted arangetrams (debut solo performance) for their students. Many of them are national senior and junior scholarship holders from the Ministry of Culture, India. The institute gives wide scope to serious learners by supporting and encouraging them to perform at prestigious festivals, especially the Chennai music and dance festival.
Sri Mudhraalaya also conducts workshops for students in India and overseas.
Dr Ramaswamy has choreographed over 280 works and her first group choreography called ‘Sculptor’s Dream’ was judged as the best at the IDA festival, 2002 . Apart from the traditional units (like alarippu, jatiswaram, shabdam, varnam, kirtanam, padam, javali and kavutuvam), her work also includes pudu-kavidai, pallu and madakku
Dr Ramaswamy’s special interest in Classical Tamil works inspired her to recreate Sangam age poems as dance units. Other than the individual dance units she has done duet choreography works, group productions and thematic arangetrams. Purananuru is one of her work which won the best production certificate from Parthasarathy Swami Sabha in 2012. She has received production grants from the State and Central Governments several times. She thrives on lending stage production a unique thought and rendition every time.
|Arpudam||For Narada Gana Sabha on rasa ‘adputa’|
|Harom Shivom||Compositions of Papanasam Sivan|
|Thedal||Compositions that reflect, ‘search’|
|Prema & Prema-pasa||Compositions on ‘love’ in various facets|
|‘Aalavathu Eppadiyo’ (Solo theatre)||Stories of four Saiva saints|
|Pibhare Swati rasam||Compositions of Maharaja Swati Tirunal|
|Jagam nee! Aham nee!||Mother Goddess as Mahisasura mardini|
|Shanmadham||Six streams of devotion in Hindu belief|
|Madhuraadipathe Akilam Madhuram||Compositions on Lord Krishna|
|Guham Sadhaaham Saranam Prabathye||Compositions on Lord Muruga|
|Sri Gurave Namaha||Concept hailing, ‘Guru’|
|Tharu||Traditional and modern compositions|
|Tridhara||Devotional, Traditional &Court traditions|
|Manoranjitham||Different types of ‘Favourites’|
|Suka-Hamsa-Mayuraaha||Compositions with peacock, swan & parrot|
|Bhairavi-Ranjani-Priya||Compositions in such ragams|
|Aasha||Compositions that reflect, ‘desire’|
|Vaishnavam||Compositions on Lord Vishnu|
|Nava Navam||‘New’ and Number ‘nine’|
|Maalum Maruganum||Choreographies based on Vishnu and Murugan alternately strung together|
|Shiva Sannidhau - Abode of Shiva||A garland of items based on Shiva|
|Tanjore Repertoire||On exclusive compositions of the Tanjore composes including Tanjore Quartet|
|Ramanatham||Musical compositions of Sangita Kalanidhi Dr S Ramanathan|
|Swetha||Refers to colour white – compositions that are connected to colour white like: sugar, swan, milky ocean, goddess saraswati etc.|
|Panchavarna Kavuthvam||Kavuthvam about the 5 coloured Lord Shiva which was part of the production aindum aiyyanum|
|Mayil Viruttam||Arunagirinadhar's viruttam structured into kavuthvam form depicting glory of Lord Muruga's mount|
|Nila Kavuthvam||Silapathikaram verses made into kavuthvam about the moon|
|Nottuswaram Anjali||Unique composition using english notes|
|Tisra Dhruvam Alarippu||11 count alarippu|
|Viloma Kandam Alarippu||The reverse composition of kandam alarippu|
|Jatiswaram||A jatiswaram in unique ragam Surya|
|Mayil Shabdam||Creates as part of Suka-hamsa-mayura|
|Suryan Shabdam||Created as part of Shanmathan theme on the Sun god|
|Silapathikaram Shabdam||Verses of silapathikaram created into shabdam|
|Dasavatharam Varnam||Glory of lord Vishnus 10 avatars in tamil|
|Anname Varnam||Lord Muruga's consort pondering angrily upon where her lord might be|
|Anandabairavi Varnam||The heroine pleading with her sakhi to bring her Lord Rajagopala to her|
|Enna nan Seiduvitten||Padam about how Krishna convinces the Gopika to lethim go when he was caught stealing butter|
|Choodare Padam||Ladies gossiping about one of the women going to meet Krishna|
|Samayam Idle Kaadhura||A controversial piece depicted in a very elegant way about a love affair|
|Yamanalli||Where the author tells us that Lord Rama is good to those who are good and is Yama to those who are not|
|Ennilum Aval Enna Slaagiyamo||Padam where Deivayaanai wonders in what way Valli is better than her|
|Nindranda Mayil||Philosophy of life explained|
|Madurashtakam Tillana||Words of madhurashtakam interspersed with the tillana|
|Desh Tillana||Work of Bharatiyar accomodated into Tillana as Sahithyam|
|Panchanadai Tillana||Tillana part of Aindum Aiyyanum showing the philosophy behind Natraja's statue|
|Navaraga Malika||Part of jagam nee ahem nee production and a unique piece on the three devis each stanza having ragam of each of those devis|
|Swagatham Krishna||Compositions on Lord Krishna|
|Harom Shivom||Compositions of Papanasam Sivan|
|Jagam Nee, Aham nee!||Hailing mother Goddess in her special form of ‘Mahisasura Mardhini’|
|Kishkinda kaandam||Ramayana by Ezuththaccan (Malayalam)|
(Judged best at IDA festival, 2002)
|Neo-classical genre, ‘Sculptures alive’|
|Silambu Vidu Thoodhu||Message sent through the ‘anklet’|
|Asta-nayika||Eight shades of maidens in ‘love’|
|Oozhikooththu||Mahakavi Bharati’s poem on ‘dissolution’|
|Aindhum Ayyanum||Lord Shiva and number, ‘five’|
|Dasavatharam||The 10 avatars of Vishnu|
|Aindhaan Potri||Extolling five saiva saints|
|Thenthuli||Traditional, Devotional, Court & folk traditions|
|Silambu Vidu Thoodhu||Message through the ‘anklet’|
|Jagam nee! Aham nee!||Greatness of Mother Goddess|
|Sangamum Sangamamum||Sangam Age poetry in Tamil, ‘Nattrinai’|
|Tirumalai Aandaver Kuravanji||Kuravanji Literature, 17CE|
|Kaalandho’rum||Dance through the Ages, in Tamil literature|
|Tiruvarangak Kalambakam||Kalambakam on Lord Ranganatha, 16 CE|
|Aindhil Irandu||Sangam Age poetry in Tamil, ‘Aingkurunooru’|
|Andha NaaLum Vandhidatho?! (Puranaanooru)
(Won ‘best group production’ award from Parthasarathy Swami Sabha 2012)
|Sangam Age poetry in Tamil, ‘Puranaanooru’|
|Aalavathu Eppadiyo?!||Stories of Saiva saints hailed by Saint Pattinattar.|
|Sapta Vidangam||Seven dances of Shiva – Ajaba, Hamsa, Kukkuta, Bramara, Kamala, Alaba and Unmatha in seven Vidanga sthalams and using of Thevarams for dance.|
|Sundara Kandam||The Story of Ramayana is part and parcel of Indian culture. The Sundara kandam is symbolic of hope and positivity. To read, hear, watch or memorize the verses of the Sundara kandam is supposed to bring all auspiciousness and wipe away all difficulties in life|
|Rama Hare! Krishna Hare!||Traditional Margam with items connecting with Rama and Krishna|
|Deepam Yetruvom||Celebrates the winning of Good over the Evil which is also transposed to the internal Evils of kama, kroda, moha, loba, madha and matsarya|
|Thanjai||Traditional Margam with items from the Celebrated Tanjavur composers|
|Suka Marga||Premiered on 26.01.2018, a thematic Margam program with ‘Parrot’
This production is partly supported by the production grant of Ministry of culture
|Naalver||Inspiring stories of four saiva saints, referred as ‘saiva kuravar’ along with stories or wonders they have created.|
Awards and honours
- 2017: Devdasi National Award, Orissa
- 2017: The title of "Natya Kala Mani” by Trinity Arts Festival
- 2016: The title of “Acharya Kala Bharati” at Bharat Kalachar
- 2015: The title of “Acharya Kala Vipanchee” at Vipanchee
- 2014: The title of “Saadhanai Penmani” from Ajantha Fine Arts
- 2013: “Award of Excellence” from Siva Foundation
- 2013: The title of “Vani Kala Nipuna” from Thyaga Brahma Gana Sabha
- 2011: The title of “Kala Acharya Shiromoni” from VDS Arts Academy
- 2008: The title of “Natyakala Vipanci” from Vipanchi
- 1999: The title of “Nritya Vidhya Ratna” from Sarasaalaya
- 2000: The title of “Yuva Kala Bharati” from Bharat Kalachar
- 2012: “Vedantam Satyanarayana Award” from Sri Krishna Gana Sabha
- 1998: Balasaraswathy endowment Award
- 1993: The title of “Abhinaya Aadalarasi” from Mutharamman Temple
- 1987: The title of “Natya Kala Ranjini” from Tamil Sangam, Valliyur
- 1986: Acknowledgement from Tamil Nadu Eyal Isai Nataka Mandram in their scheme for “Upcoming artists in different cultural fields”
- 1988: Gold medal in Youth festivals at Sarah Tucker College
- 1987: Gold medal in Youth festivals at Sarah Tucker College
- WE_ADMIN, "Talented in Many Ways", Weportal, 17 March 2017
- Narthaki, "Performances"
- Times of India, "Tamil Scholar Brings Together Sangam Poems Bharatanatyam", 17 August 2012
- The Hindu, "An Idea Takes Wings", 26 January 2018
- Official website