<p>Acclaimed Indian danseuse Savitha Sastry and filmmaker husband AK Srikanth have announced the&nbsp;release of their new dance film together, <em>The Ghost of the Lighthouse</em>. A short film, the story takes a look at the life of a small-town tourist guide and her aspirations, asking the question that perhaps haunts every human – the source of happiness.</p>

<p>Conceptualised by Savitha Sastry, and directed by AK Srikanth, the film is the eleventh short from the duo, coinciding with the eleventh year of their production house. Alongside Savitha, the film also stars Jamie Alter – son of legendary actor Tom Alter in a major role. The film released&nbsp;on OTT on October 28, 2023.<br />
&nbsp;<br />
This short film is a touching vignette into the life of everyday people in small towns. The characters that populate the film are easily relatable to people we meet in our lives every day. That ‘irritating’ sales caller on our cellphones, the tourist guides who throng little towns, the vendors in a bazaar – this film looks at the life behind that voice we shut out immediately with the click of a key when they enter our lives. The poignant tale is portrayed through a denouement that is easy to understand, stunning visuals, and an extremely moving narrative.</p>

<p>On the film, Bharathanatyam danseuse Savitha Sastry said, "I think this is the best etched-out character that I have ever had the opportunity to perform. And through this character, I play the life of the ‘everyday people’ - their hopes, ambitions, and dreams. A very real and poignant experience."</p>

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cy_Cyibhqpt/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);">
<div style="padding:16px;">
<div style=" display: flex; flex-direction: row; align-items: center;">
<div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;">&nbsp;</div>

<div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;">
<div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;">&nbsp;</div>

<div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;">&nbsp;</div>
</div>
</div>

<div style="padding: 19% 0;">&nbsp;</div>

<div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg height="50px" version="1.1" viewbox="0 0 60 60" width="50px" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g fill="none" fill-rule="evenodd" stroke="none" stroke-width="1"><g fill="#000000" transform="translate(-511.000000, -20.000000)"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>

<div style="padding-top: 8px;">
<div style=" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;">View this post on Instagram</div>
</div>

<div style="padding: 12.5% 0;">&nbsp;</div>

<div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;">
<div>
<div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);">&nbsp;</div>

<div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;">&nbsp;</div>

<div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);">&nbsp;</div>
</div>

<div style="margin-left: 8px;">
<div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;">&nbsp;</div>

<div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)">&nbsp;</div>
</div>

<div style="margin-left: auto;">
<div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);">&nbsp;</div>

<div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);">&nbsp;</div>

<div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);">&nbsp;</div>
</div>
</div>

<div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;">
<div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;">&nbsp;</div>

<div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;">&nbsp;</div>
</div>

<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by Savitha Sastry (@savitha_sastry)</p>
</div>
</blockquote>
<script async src="//www.instagram.com/embed.js"></script></div>
×</div>

<p>Meanwhile, AK Srikanth said, "I set out to create a film that has the gentle impact of that breeze that hits your face when you’re taking a walk by the sea at dawn, with not one soul around. I think the team I worked with - Savitha, Jamie, Abhay (with his music) - they all created an experience that is sublime."<br />
<em>&nbsp;<br />
The Ghost of the Lighthouse</em> is not a horror film as the title seems to suggest, but refers to the millions of memories that we carry through our lives.</p>

<p><strong>WATCH WION LIVE HERE</strong></p>

<p><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="350" src="https://www.wionews.com/live-tv/embed?autoplay=1&amp;mute=1" width="100%"></iframe></p>

<p>You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.</p>

<p><br />
&nbsp;</p>


Acclaimed Indian danseuse Savitha Sastry and filmmaker husband AK Srikanth have announced the release of their new dance film together, The Ghost of the Lighthouse.

Acclaimed Indian danseuse Savitha Sastry and filmmaker husband AK Srikanth have announced the release of their new dance film together, The Ghost of the Lighthouse. A short film, the story takes a look at the life of a small-town tourist guide and her aspirations, asking the question that perhaps haunts every human – the source of happiness. Conceptualised by Savitha Sastry, and directed by AK Srikanth, the film is the eleventh short from the duo, coinciding with the eleventh year of their production house. Alongside Savitha, the film also stars Jamie Alter – son of legendary actor Tom Alter in a major role. The film released on OTT on October 28, 2023. This short film is a touching vignette into the life of everyday people in small towns. The characters that populate the film are easily relatable to people we meet in our lives every day. That ‘irritating’ sales caller on our cellphones, the tourist guides who throng little towns, the vendors in a bazaar – this film looks at the life behind that voice we shut out immediately with the click of a key when they enter our lives. The poignant tale is portrayed through a denouement that is easy to understand, stunning visuals, and an extremely moving narrative. On the film, Bharathanatyam danseuse Savitha Sastry said, "I think this is the best etched-out character that I have ever had the opportunity to perform. And through this character, I play the life of the ‘everyday people’ - their hopes, ambitions, and dreams. A very real and poignant experience." View this post on Instagram A post shared by Savitha Sastry (@savitha_sastry) × Meanwhile, AK Srikanth said, "I set out to create a film that has the gentle impact of that breeze that hits your face when you’re taking a walk by the sea at dawn, with not one soul around. I think the team I worked with - Savitha, Jamie, Abhay (with his music) - they all created an experience that is sublime." The Ghost of the Lighthouse is not a horror film as the title seems to suggest, but refers to the millions of memories that we carry through our lives. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Award-winning director-dancer duo AK Srikanth, Savitha Sastry launch new dance film

<p>Danseuse Savitha Sastry and writer-director AK Srikanth have released their tenth production <em>Slow Rivers.</em> Taking a sharp detour from the recent light-hearted comedies Arangetram and Filter Coffee from the production house, this film is a mind-bending spiral that examines the complex relationship between an artiste and her mentor.<br />
&nbsp;<br />
Actor Ashish Vidyarthi and the protagonist Savitha Sastry star together for the first time, in roles that crackle with power every time the two appear on screen together. The confrontation between the two goes far beyond just their roles, into philosophies of the relationship between art and the artiste. Ashish’s complex character brings back memories of his award-winning performance in the classic <em>Droh-Kaal</em>, while Savitha takes on a layered role that the audience hasn’t seen before.</p>

<p>Talking about the dance production, Savitha Sastry said, “<em>Slow Rivers </em>would definitely rank amongst the most challenging projects I have worked on – whether it be sharing the screen with thespian Ashish Vidyarthi, or in the very intricate dance sequences that I choreographed and filmed. I play the role of a dancer named Sravaka (which means student, in Sanskrit), and it is a character with many shades of grey. An amazing experience, indeed!”</p>

<p>AK Srikanth said, “<em>Slow Rivers</em> is a mind bender that takes the viewers through the worlds of the real, the metaphysical, and the delusional. While on the surface it is about a teacher and student, I think at its heart it is about that never-ending quest for immortality. I think it is a very important film in my journey as a director, and a very important one for our production company as well, in terms of the very scope of what it attempts to portray.”</p>

<p>Meanwhile, Ashish Vidyarthi said, “Savitha and Srikanth are a couple who makes films to ensure that dance is popularised among the masses. They are a set that wants to propagate culture, making ensure that it is simplified so that it reaches many people other than the very few who manage to attend performances. It was an absolute joy participating in <em>Slow Rivers</em>.”<br />
&nbsp;<br />
Composer Abhay Nayampally scores the music for this short, in his sixth collaboration with Savitha and Srikanth. The film can be watched on Savitha Sastry’s YouTube channel.</p>

<p><strong>WATCH WION LIVE HERE</strong></p>

<p><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="350" src="https://www.wionews.com/live-tv/embed?autoplay=1&amp;mute=1" width="100%"></iframe></p>

<p>You can now write for wionews.com and be a part of the community. Share your stories and opinions with us <a href="https://www.wionews.com/content-contribution-registration-form">here.</a></p>

<p><br />
&nbsp;</p>


Danseuse Savitha Sastry and writer-director AK Srikanth have released their tenth production Slow Rivers. Taking a sharp detour from the recent light-hearted comedies Arangetram and Filter Coffee from the production house, this film is a mind-bending spiral that examines the complex relationship between an artiste and her mentor.

Danseuse Savitha Sastry and writer-director AK Srikanth have released their tenth production Slow Rivers. Taking a sharp detour from the recent light-hearted comedies Arangetram and Filter Coffee from the production house, this film is a mind-bending spiral that examines the complex relationship between an artiste and her mentor. Actor Ashish Vidyarthi and the protagonist Savitha Sastry star together for the first time, in roles that crackle with power every time the two appear on screen together. The confrontation between the two goes far beyond just their roles, into philosophies of the relationship between art and the artiste. Ashish’s complex character brings back memories of his award-winning performance in the classic Droh-Kaal, while Savitha takes on a layered role that the audience hasn’t seen before. Talking about the dance production, Savitha Sastry said, “Slow Rivers would definitely rank amongst the most challenging projects I have worked on – whether it be sharing the screen with thespian Ashish Vidyarthi, or in the very intricate dance sequences that I choreographed and filmed. I play the role of a dancer named Sravaka (which means student, in Sanskrit), and it is a character with many shades of grey. An amazing experience, indeed!” AK Srikanth said, “Slow Rivers is a mind bender that takes the viewers through the worlds of the real, the metaphysical, and the delusional. While on the surface it is about a teacher and student, I think at its heart it is about that never-ending quest for immortality. I think it is a very important film in my journey as a director, and a very important one for our production company as well, in terms of the very scope of what it attempts to portray.” Meanwhile, Ashish Vidyarthi said, “Savitha and Srikanth are a couple who makes films to ensure that dance is popularised among the masses. They are a set that wants to propagate culture, making ensure that it is simplified so that it reaches many people other than the very few who manage to attend performances. It was an absolute joy participating in Slow Rivers.” Composer Abhay Nayampally scores the music for this short, in his sixth collaboration with Savitha and Srikanth. The film can be watched on Savitha Sastry’s YouTube channel. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Indian danseuse Savitha Sastry rolls out a new film that tells a unique story of a dancer and her mentor

<p>Indian dancer and choreographer Savitha Sastry released the second film in the <em>Families</em> Short Film trilogy. Titled <em>Filter Coffee aur Masala Chai</em>, the film is directed by AK Srikanth. The duo’s first Hindi film, it is also the ninth from their production company which is known for its award-winning films like Arangetram, Descent, Beyond the Rains, Dvija, and The Colors Trilogy.<br />
&nbsp;<br />
Filter Coffee aur Masala Chai is based on a short story written by Srikanth and is an allegory of the diversity and unity of India as represented by a typical Indian family. The theme celebrates the concept of a family as a unit, one that may have its share of bickering and fighting, but would come together as one when any sort of calamity strikes. The story is brought alive through a host of television and film actors and led by none other than the ‘Dancing Storyteller’ Savitha herself.<br />
&nbsp;<br />
Like their previous film Arangetram, <em>Filter Coffee aur Masala Chai,</em> too is a breezy comedy, one that can be enjoyed by the whole family together, much as the genre made popular by stalwarts such as Amol Palekar, Hrishikesh Mukherjee, and Basu Chatterjee. The story and its uniquely quirky protagonists bring to mind the unforgettable characters from RK Narayan’s classic Malgudi series.</p>

<p>Watch the film here:</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="675" src="https://www.youtube.com/embed/84K8U0Qmfvo" title="Savitha Sastry's 'Filter Coffee Aur Masala Chai' - Short Film [4K HDR] - HINDI" width="1280"></iframe></p>

<p><br />
The story and its uniquely quirky protagonists bring to mind the unforgettable characters from RK Narayan’s classic Malgudi series. Filter Coffee aur Masala Chai features actors Monika Shah, Zeeba Ashrin, Kowsalya Natarajan, Sridhar, Vinay Sachdeva, and Parminder Singh Shah. Director AK Srikanth plays a cameo while Pawan Hora debuts as one of the main leads.&nbsp;</p>

<p>The short film&nbsp;features actors Monika Shah, Zeeba Ashrin, Kowsalya Natarajan, Sridhar, Vinay Sachdeva and Parminder Singh Shah. Director AK Srikanth plays a cameo while Pawan Hora debuts as one of the main leads.&nbsp;</p>

<p>The film, based in the milieu of a typical Delhi family, focuses on a Punjabi-Tamil couple and their eccentric relatives. While the film centers around the character played by Savitha, every supporting actor also has unique characterisations that make the whole film believable, and yet joyous.</p>

<p><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="350" src="https://www.wionews.com/live-tv/embed?autoplay=1&amp;mute=1" width="100%"></iframe></p>


Indian dancer and choreographer Savitha Sastry released the second film in the Families Short Film trilogy. Titled Filter Coffee aur Masala Chai, the film is directed by AK Srikanth.

Indian dancer and choreographer Savitha Sastry released the second film in the Families Short Film trilogy. Titled Filter Coffee aur Masala Chai, the film is directed by AK Srikanth. The duo’s first Hindi film, it is also the ninth from their production company which is known for its award-winning films like Arangetram, Descent, Beyond the Rains, Dvija, and The Colors Trilogy. Filter Coffee aur Masala Chai is based on a short story written by Srikanth and is an allegory of the diversity and unity of India as represented by a typical Indian family. The theme celebrates the concept of a family as a unit, one that may have its share of bickering and fighting, but would come together as one when any sort of calamity strikes. The story is brought alive through a host of television and film actors and led by none other than the ‘Dancing Storyteller’ Savitha herself. Like their previous film Arangetram, Filter Coffee aur Masala Chai, too is a breezy comedy, one that can be enjoyed by the whole family together, much as the genre made popular by stalwarts such as Amol Palekar, Hrishikesh Mukherjee, and Basu Chatterjee. The story and its uniquely quirky protagonists bring to mind the unforgettable characters from RK Narayan’s classic Malgudi series. Watch the film here: The story and its uniquely quirky protagonists bring to mind the unforgettable characters from RK Narayan’s classic Malgudi series. Filter Coffee aur Masala Chai features actors Monika Shah, Zeeba Ashrin, Kowsalya Natarajan, Sridhar, Vinay Sachdeva, and Parminder Singh Shah. Director AK Srikanth plays a cameo while Pawan Hora debuts as one of the main leads. The short film features actors Monika Shah, Zeeba Ashrin, Kowsalya Natarajan, Sridhar, Vinay Sachdeva and Parminder Singh Shah. Director AK Srikanth plays a cameo while Pawan Hora debuts as one of the main leads. The film, based in the milieu of a typical Delhi family, focuses on a Punjabi-Tamil couple and their eccentric relatives. While the film centers around the character played by Savitha, every supporting actor also has unique characterisations that make the whole film believable, and yet joyous.

Indian dancer Savitha Sastry releases second film in Families trilogy, celebrating life and unity

<p>Innovation is key in keeping traditions alive and Savitha Sastry is doing just that. A classical dancer, precisely a Bharatnatyam dance exponent alongwith partner AK Srikanth have been working towards keeping the charm of the classical form of dance alive in spirit, much beyond those who actively learn the art form. With their new Bharatnatyam dance production ‘Beyond the Rains’, the film, written like a Japanese poem, portrays the emotion of love as understood by a retired old dancer struck by senility, who lives in her memories, and a young girl who is looking to the future alone.</p>

<p>Choreographed by Savitha, Beyond the Rains helps us understand the state of the popular Indian classical dance form in a simpleton manner. Speaking about her vision, Savitha tells WION about bridging the gap between the youth and traditions that make up India’s rich cultural heritage.&nbsp;</p>

<p><em>Read the excerpts of the chat here:</em></p>

<p><strong>WION: What is ‘Beyond the Rains’?&nbsp;</strong></p>

<p><strong>Savitha: </strong>‘Beyond the Rains’ is based on a short story by AK Srikanth (also the Director of the film), titled ‘The Girl in the Bubble’. The theme behind the story is to juxtapose the concept of love as seen and understood by someone from an older generation, and someone from today’s youth. It also goes in depth on the concept of living a life that has experienced unrequited love – and how that love can be held as a beautiful memory rather than something to be bitter about. Director Srikanth wanted a film that has the sensitivity of ‘a dew drop about to fall from a leaf’, and it is this vision that translates into a sensitive and quiet film that nevertheless has an impact on the viewer that is unforgettable.</p>

<p><strong>WION: How does rain feature in the production language? What is its relevance?&nbsp;</strong></p>

<p><strong>Savitha:</strong> On one level, the film draws its inspiration from a Haiku – a Japanese poetry format that often uses nature to deliver a gentle effect on its readers. This story is structured like a Haiku, in that it has three parts, and the rains add to the beautiful and yet wistful atmosphere of the protagonist’s state of mind. The story keeps fluctuating between the past and the present – the past where the protagonist meets with the love of her life in the season of rains, and the present where an old lady now on a wheelchair, holds onto the memories from many rains ago.</p>

<p><img alt="savitha" data-entity-type="file" data-entity-uuid="102f23e5-8455-4c60-aa14-0bd44b05992a" src="//cdn.wionews.com/sites/default/files/inline-images/New-139.jpg" /></p>

<p><strong>WION: You dance on relatable stories. Are the stories inspired from your life?</strong></p>

<p><strong>Savitha: </strong>All the stories that I have performed are the works of my husband AK Srikanth. And yes, the stories he writes are usually drawn from his own experiences in life, though dramatised for effect in our films. While it may be almost impossible to figure out who he refers to, as he mixes up events and people in his stories, the core of it is always based on a true occurrence, and I think that is what makes his stories relatable.</p>

<p><strong>WION: What has your experience been like being one of the first movers to the digital arena in<br />
the classical dance industry?</strong></p>

<p><strong>Savitha: </strong>The primary goal of my stage productions, and later my short films, was to popularise Indian classical arts amongst those uninitiated or disinterested in the art. Until 2017, I mostly did stage performances, but given the limitation of an auditorium capacity and the number of shows I could do, it still meant my reach was restricted. The decision to go digital came about because of the undeniable reach of the medium – the audiences that could watch my show in a year, that number I now get in the first hour of my film’s release.</p>

<p>On the flip side, given the easy access of digital – I now see semi-trained young people put up short dance clips to gain short term fame by counting likes on their video and assuming that to be the measure of their prowess. Therefore to unearth some truly good content, one has to mine hours of uploads that do not do justice to what classical arts is truly about. There is no substitute to diligence in the classical arena and it takes decades to become a good dancer. The ease of filming something and putting it up online distracts students from concentrating on their technique. So in a nutshell, I think the digital arena can be a powerful tool of reach, but can also lend a fake sense of achievement. The power of digital, just as the power of any technology, lies in the hands of an intelligent user.</p>

<p><img alt="savitha" data-entity-type="file" data-entity-uuid="cf864b83-89a8-435e-9f6a-ccfe7932a1e6" src="//cdn.wionews.com/sites/default/files/inline-images/New-140.jpg" /></p>

<p><strong>WION: Since you have tasted success with the birth of a new medium – the OTT, how do you feel about the rise of such digital platforms as an artist?</strong></p>

<p><strong>Savitha:</strong> I think it is wonderful seeing these multitudes of entertainment options blossoming. We are seeing some wonderful and innovative content being made for these platforms, perhaps far higher in quality than the serials we were accustomed to in the past. Some wonderful filmmakers and artists have come to the public eye because of these platforms. Yes, certain films are best enjoyed on big screen and by that logic I think both OTT and big screens will coexist to give the viewers a treat in all formats. This is an exciting time to be in the entertainment industry!</p>

<p><a href="https://www.wionews.com/entertainment/lifestyle/news-why-we-dream-about-past-loves-457480" hreflang="en">Why we dream about past loves</a></p>

<p><strong>WION: But how relevant is the classical dance form in today’s age when the youth is easily distracted with a lot more?</strong></p>

<p><strong>Savitha:</strong> Classical art can never lose its relevance but yes, multitudes of options can distract the youth. However, the youth is intelligent enough to understand and appreciate the beauty of classical dance if it is presented to them in a format that does not bore them and that onus is on us, the classical dancers.</p>

<p><strong>WION: Since you agree that there’s no dearth of exposure to the youth, how have the classical dance forms evangelised for greater acceptance. Have you been successful for one?</strong></p>

<p><strong>Savitha:</strong> Traditionally, classical dance tends to be performed based on stories from mythology and religion. Repetitive content and unfamiliarity with the codification that goes into the dance makes it a difficult option for those that are not truly into the art form. Evangelising the art form would mean presenting different content in an interesting format, without compromising on the techniques of the dance form. This has been my endeavour since 2008 when I experimented with my first such production – ‘Music Within’ – which presented the history of music through a deaf and dumb protagonist. Whether I have been successful is not for me to say, but 12 productions, 14 countries, 100 plus shows, and millions of views later, I would like to think that I have been able to put forward a point!</p>

<p><img alt="savitha" data-entity-type="file" data-entity-uuid="b0cc8b16-c0e2-4207-98ea-65864af5e6f4" src="//cdn.wionews.com/sites/default/files/inline-images/New-138_2.jpg" /></p>

<p><strong>WION: Great, so what’s next in the pipeline?&nbsp;</strong></p>

<p><strong>Savitha: </strong>Our next project is titled ‘Dvija: The Story of the Twice-Born’, which is currently under production. I am also occupied with the Gurukula, the immersive in-person learning program I have devised for the handful of students that are able to live with us, and learn the art form in all its dimensions.</p>

<p><a href="https://www.wionews.com/entertainment/asha-parekh-look-evergreen-beauty-in-the-new-magazine-cover-says-i-was-not-destined-to-get-married-462107" hreflang="en">Asha Parekh proves that she is an evergreen diva with this new magazine cover, see pics</a></p>


Innovation is key in keeping traditions alive and Savitha Sastry is doing just that. A classical dancer, precisely a Bharatnatyam dance exponent alongwith partner AK Srikanth have been working towards keeping the charm of the classical form of dance alive in spirit, much beyond those who actively learn the art form.

Innovation is key in keeping traditions alive and Savitha Sastry is doing just that. A classical dancer, precisely a Bharatnatyam dance exponent alongwith partner AK Srikanth have been working towards keeping the charm of the classical form of dance alive in spirit, much beyond those who actively learn the art form. With their new Bharatnatyam dance production ‘Beyond the Rains’, the film, written like a Japanese poem, portrays the emotion of love as understood by a retired old dancer struck by senility, who lives in her memories, and a young girl who is looking to the future alone. Choreographed by Savitha, Beyond the Rains helps us understand the state of the popular Indian classical dance form in a simpleton manner. Speaking about her vision, Savitha tells WION about bridging the gap between the youth and traditions that make up India’s rich cultural heritage. Read the excerpts of the chat here: WION: What is ‘Beyond the Rains’? Savitha: ‘Beyond the Rains’ is based on a short story by AK Srikanth (also the Director of the film), titled ‘The Girl in the Bubble’. The theme behind the story is to juxtapose the concept of love as seen and understood by someone from an older generation, and someone from today’s youth. It also goes in depth on the concept of living a life that has experienced unrequited love – and how that love can be held as a beautiful memory rather than something to be bitter about. Director Srikanth wanted a film that has the sensitivity of ‘a dew drop about to fall from a leaf’, and it is this vision that translates into a sensitive and quiet film that nevertheless has an impact on the viewer that is unforgettable. WION: How does rain feature in the production language? What is its relevance? Savitha: On one level, the film draws its inspiration from a Haiku – a Japanese poetry format that often uses nature to deliver a gentle effect on its readers. This story is structured like a Haiku, in that it has three parts, and the rains add to the beautiful and yet wistful atmosphere of the protagonist’s state of mind. The story keeps fluctuating between the past and the present – the past where the protagonist meets with the love of her life in the season of rains, and the present where an old lady now on a wheelchair, holds onto the memories from many rains ago. WION: You dance on relatable stories. Are the stories inspired from your life? Savitha: All the stories that I have performed are the works of my husband AK Srikanth. And yes, the stories he writes are usually drawn from his own experiences in life, though dramatised for effect in our films. While it may be almost impossible to figure out who he refers to, as he mixes up events and people in his stories, the core of it is always based on a true occurrence, and I think that is what makes his stories relatable. WION: What has your experience been like being one of the first movers to the digital arena in the classical dance industry? Savitha: The primary goal of my stage productions, and later my short films, was to popularise Indian classical arts amongst those uninitiated or disinterested in the art. Until 2017, I mostly did stage performances, but given the limitation of an auditorium capacity and the number of shows I could do, it still meant my reach was restricted. The decision to go digital came about because of the undeniable reach of the medium – the audiences that could watch my show in a year, that number I now get in the first hour of my film’s release. On the flip side, given the easy access of digital – I now see semi-trained young people put up short dance clips to gain short term fame by counting likes on their video and assuming that to be the measure of their prowess. Therefore to unearth some truly good content, one has to mine hours of uploads that do not do justice to what classical arts is truly about. There is no substitute to diligence in the classical arena and it takes decades to become a good dancer. The ease of filming something and putting it up online distracts students from concentrating on their technique. So in a nutshell, I think the digital arena can be a powerful tool of reach, but can also lend a fake sense of achievement. The power of digital, just as the power of any technology, lies in the hands of an intelligent user. WION: Since you have tasted success with the birth of a new medium – the OTT, how do you feel about the rise of such digital platforms as an artist? Savitha: I think it is wonderful seeing these multitudes of entertainment options blossoming. We are seeing some wonderful and innovative content being made for these platforms, perhaps far higher in quality than the serials we were accustomed to in the past. Some wonderful filmmakers and artists have come to the public eye because of these platforms. Yes, certain films are best enjoyed on big screen and by that logic I think both OTT and big screens will coexist to give the viewers a treat in all formats. This is an exciting time to be in the entertainment industry! Why we dream about past loves WION: But how relevant is the classical dance form in today’s age when the youth is easily distracted with a lot more? Savitha: Classical art can never lose its relevance but yes, multitudes of options can distract the youth. However, the youth is intelligent enough to understand and appreciate the beauty of classical dance if it is presented to them in a format that does not bore them and that onus is on us, the classical dancers. WION: Since you agree that there’s no dearth of exposure to the youth, how have the classical dance forms evangelised for greater acceptance. Have you been successful for one? Savitha: Traditionally, classical dance tends to be performed based on stories from mythology and religion. Repetitive content and unfamiliarity with the codification that goes into the dance makes it a difficult option for those that are not truly into the art form. Evangelising the art form would mean presenting different content in an interesting format, without compromising on the techniques of the dance form. This has been my endeavour since 2008 when I experimented with my first such production – ‘Music Within’ – which presented the history of music through a deaf and dumb protagonist. Whether I have been successful is not for me to say, but 12 productions, 14 countries, 100 plus shows, and millions of views later, I would like to think that I have been able to put forward a point! WION: Great, so what’s next in the pipeline? Savitha: Our next project is titled ‘Dvija: The Story of the Twice-Born’, which is currently under production. I am also occupied with the Gurukula, the immersive in-person learning program I have devised for the handful of students that are able to live with us, and learn the art form in all its dimensions. Asha Parekh proves that she is an evergreen diva with this new magazine cover, see pics

Reinventing Bharatnatyam, one film at a time: Savitha Sastry and her vision for the classical art form

<p>Indian Bharatanatyam dancer Savitha Sastry along with husband AK Srikanth recently released a short dance film ‘Colors: White’ that premiered on YouTube as part of a trilogy series. Named after the colours of the Indian National Flag -- Green, White and Saffron -- the second part of the trilogy features the Bharatanatyam exponent extensively as she uses dance as a form of narrative.</p>

<p>In a chat with WION, the classical dancer cum choreographer spoke about her passion for dance and using it to tell different stories based on novels written incidentally by partner AK Srikanth.&nbsp;</p>

<p><strong>Thematic Interpretation of ‘Colors: White’</strong></p>

<p>“Colors White is a part of a trilogy of which White and Green have been released and Saffron is the next project. Colors’ refers to the three colours of our national flag. The question my partner and author wanted to ask was about the ideals that our forefathers conceptualised for each color. For instance green was chosen for representing prosperity. He chose to examine prosperity from the perspective of ‘Is it equal between the males and the females of this country?’ and not in terms of the bank balance but in terms of the mind, the freedom of choice. So each of these values we are taking up and juxtaposing between the males and females of this country,” said Savitha explaining the thought behind the trilogy.</p>

<p>She added, “Colors White examines truth and peace and it is my belief that you can achieve peace, when you are able to come face-to-face with your own truth. So how do you get there? Most of us and especially women, live inside a box. In the case of Colors White's protagonist, that box could be that of traditional dance. It can be whatever role the society expects you to play. When I learned classical Bharatanatyam, I was expected to confirm to a set piece presentation that spoke of mythology, of Gods, and was made to be sacrosanct. I soon realised that performing dance in traditional style was not something that resonated with me.”</p>

<p>She explained, “Colors White traces what happens when that box becomes suffocating. That breaking away landing at a place where we are making dance films, did not happen overnight. It’s become a reality after years of struggle, emotionally and financially.”</p>

<p>She describes Colors: White as “a poetry of a film and is written to be a real film.” Savitha believes there is an allegory of Gandhari, the Queen mother from Mahabharat who blindfolds herself as a sacrifice for husband Dhritrashtra who is visually impaired. The allegory is of society heaping praises on Gandhari for giving up on vision and sacrificing for husband. In this dance film, the protagonist removes the manifested blindfold. &nbsp;</p>

<p><strong>Are Traditional Dance Forms Sacrosanct?</strong></p>

<p>“The question here is when does it change from Bharatanatyam to something else?” asks Savitha in reply to whether traditional dance forms are sacrosanct. She added, “I have preserved the form, structure, movement but have added what those movements are used to convey in my take. Originally, they were used to tell stories of mythology, of gods and goddesses with a set style of presentation. What I have done is take it out of the context of religion. Now I am using it as a medium to tell new stories.”</p>

<p>It took an effort to break the mould but Savitha did it anyhow.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="530" src="https://www.youtube.com/embed/Gkw9LE7l9OI" title="YouTube video player" width="946"></iframe></p>

<p><strong>International Recognition</strong></p>

<p>‘Colors: White’ has travelled to various film awards.&nbsp;</p>

<p>Savitha believes that the recognition has been “most revealing” to her in how “transparent and how deep our Indian artforms are.” ‘Colors: White has travelled to many countries in the world including Germany, Paris, UK, America among many others.&nbsp;</p>

<p>The dance exponent said, “In various countries of the world, Colors White was being looked at from the perspective of storytelling. It supports my conviction that Bharatanatyam is a storytelling medium and surpasses other dance forms that are now taking over in India like the Latin Dance and Hip Hop -- as the Indian dance has much more depth.”</p>

<p>On how to lure the youngsters to the traditional dance forms of India vs the contemporary forms that are easier to pick up because of pop culture influence, she said, “It is my vision to make Bharatanatyam mainstream and the next generation plays an important role in that. I feel we are not just competing with other dance forms but streamers like Netflix, Amazon or mobile phones for that matter.&nbsp;I feel, we must start with going&nbsp;digital and finding a way of using the technology to connect with the younger lot. It has to be entertaining enough for them to pick it.”&nbsp;<br />
&nbsp;</p>


Indian Bharatanatyam dancer Savitha Sastry along with husband AK Srikanth recently released a short dance film ‘Colors: White’ that premiered on YouTube as part of a trilogy series.

Indian Bharatanatyam dancer Savitha Sastry along with husband AK Srikanth recently released a short dance film ‘Colors: White’ that premiered on YouTube as part of a trilogy series. Named after the colours of the Indian National Flag -- Green, White and Saffron -- the second part of the trilogy features the Bharatanatyam exponent extensively as she uses dance as a form of narrative. In a chat with WION, the classical dancer cum choreographer spoke about her passion for dance and using it to tell different stories based on novels written incidentally by partner AK Srikanth. Thematic Interpretation of ‘Colors: White’ “Colors White is a part of a trilogy of which White and Green have been released and Saffron is the next project. Colors’ refers to the three colours of our national flag. The question my partner and author wanted to ask was about the ideals that our forefathers conceptualised for each color. For instance green was chosen for representing prosperity. He chose to examine prosperity from the perspective of ‘Is it equal between the males and the females of this country?’ and not in terms of the bank balance but in terms of the mind, the freedom of choice. So each of these values we are taking up and juxtaposing between the males and females of this country,” said Savitha explaining the thought behind the trilogy. She added, “Colors White examines truth and peace and it is my belief that you can achieve peace, when you are able to come face-to-face with your own truth. So how do you get there? Most of us and especially women, live inside a box. In the case of Colors White's protagonist, that box could be that of traditional dance. It can be whatever role the society expects you to play. When I learned classical Bharatanatyam, I was expected to confirm to a set piece presentation that spoke of mythology, of Gods, and was made to be sacrosanct. I soon realised that performing dance in traditional style was not something that resonated with me.” She explained, “Colors White traces what happens when that box becomes suffocating. That breaking away landing at a place where we are making dance films, did not happen overnight. It’s become a reality after years of struggle, emotionally and financially.” She describes Colors: White as “a poetry of a film and is written to be a real film.” Savitha believes there is an allegory of Gandhari, the Queen mother from Mahabharat who blindfolds herself as a sacrifice for husband Dhritrashtra who is visually impaired. The allegory is of society heaping praises on Gandhari for giving up on vision and sacrificing for husband. In this dance film, the protagonist removes the manifested blindfold. Are Traditional Dance Forms Sacrosanct? “The question here is when does it change from Bharatanatyam to something else?” asks Savitha in reply to whether traditional dance forms are sacrosanct. She added, “I have preserved the form, structure, movement but have added what those movements are used to convey in my take. Originally, they were used to tell stories of mythology, of gods and goddesses with a set style of presentation. What I have done is take it out of the context of religion. Now I am using it as a medium to tell new stories.” It took an effort to break the mould but Savitha did it anyhow. International Recognition ‘Colors: White’ has travelled to various film awards. Savitha believes that the recognition has been “most revealing” to her in how “transparent and how deep our Indian artforms are.” ‘Colors: White has travelled to many countries in the world including Germany, Paris, UK, America among many others. The dance exponent said, “In various countries of the world, Colors White was being looked at from the perspective of storytelling. It supports my conviction that Bharatanatyam is a storytelling medium and surpasses other dance forms that are now taking over in India like the Latin Dance and Hip Hop -- as the Indian dance has much more depth.” On how to lure the youngsters to the traditional dance forms of India vs the contemporary forms that are easier to pick up because of pop culture influence, she said, “It is my vision to make Bharatanatyam mainstream and the next generation plays an important role in that. I feel we are not just competing with other dance forms but streamers like Netflix, Amazon or mobile phones for that matter. I feel, we must start with going digital and finding a way of using the technology to connect with the younger lot. It has to be entertaining enough for them to pick it.”

Indian Bharatanatyam dancer Savitha Sastry on dance film 'Colors: White' & more

savitha-sastry

Savitha Sastry, News on Savitha Sastry, stories on Savitha Sastry, articles on Savitha Sastry, Savitha Sastry stories at Wion, Savitha Sastry news, Savitha Sastry latest news

savitha sastry

Award-winning director-dancer duo AK Srikanth, Savitha Sastry launch new dance film

Indian danseuse Savitha Sastry rolls out a new film that tells a unique story of a dancer and her mentor

Indian dancer Savitha Sastry releases second film in Families trilogy, celebrating life and unity

Reinventing Bharatnatyam, one film at a time: Savitha Sastry and her vision for the classical art form

Indian Bharatanatyam dancer Savitha Sastry on dance film 'Colors: White' & more