Rajesh Kumar Sheshmal Kalal Choreographer In The Bollywood Industry And A Fitness Trainer

Rajesh Kumar Sheshmal Kalal  was born on 6 August 1992 is an talented Indian dance Choreographer in the Bollywood industry and a best fitness trainer, who has worked predominantly with many  Bollywood celebrities like Mika Singh, Vidya Balan, Govinda, Geeta Kapoor, Bosco Caesar, Kapil Sharma, etc. He has designed and performed a wide range of dancing styles.

Little Known facts about Early life & Career

He completed his schooling from Ahmedabad. His father was a small shop owner of tobacco. During his struggling days, he worked in an oil factory. His father wants that Rajesh should study hard and work in a reputed place. His family never supported him towards Rajesh’s passion. But Rajesh wants to live his dream of becoming the best dancer in India. His passion for dancing never fell away. After some time, Rajesh moved to Mumbai to live his dream as Mumbai is known as the Bollywood city in all over the globe.

In Mumbai, he starts to survive as he wants and used to work in an advertising company. He tries to work hard and practices day and night to become the best dancer. He gave auditions in the shows like Dance India Dance, etc but he failed again and again. After so many years, he got a chance in Dance India Dance, he got a chance to work with Remo D’Souza. In 2014, he moved to Dubai where he got an offer to work in a dance institute of Tanaaz Irani and Bakhtiyaar Irani as a dance choreographer. After it, Rajesh’s life takes a forward move and he got many projects for his passion.

About His Career

Rajesh Kumar Sheshmal Kalal was a Director of RK Dance Institute, Ahmedabad, and an Assistant choreographer in Bollywood. After getting many projects for his dance, success, and appreciation in the name of his passion. He takes to move in the shows, firstly he was a judge in Dance pe chance, Rock your feet, Rock your Dance step, Parked at Loopia his dance career takes to move forward in Dubai, He went Dubai again for more career opportunities where he joined The Hive in 2015 and ABCD in 2016. Rajesh worked for almost 6 years. In 2015, Rajesh got so many opportunities and become a star. The best career starts through The Hive, after it, he performed in various shows like The Junction Dance Workshop, Club Navratri Festival, Indian club Holi festival, Indian Jones London Trinity Theatre Show, etc. In 2016, he got a chance to work with Any Body Can Dance (ABCD). He performed as the judge in the show Dance pe Chance. From 2017, he is serving as a freelance Choreographer with Mind Yoga center and Company body. Famous weddings like Pan Vilas and Haldiram Namkeen Family also choreograph by him

 

His Movies as an Actor

Rajesh Kumar Sheshmal Kalal worked in various Gujrati, Bhojpuri and Hindi movies. He also worked in Any Body Can Dance, Street Dancer 3, Dabang 2, Gujarati cinema, Bhojpuri cinema, etc.

His Achievements &  Awards

Rajesh Kumar Sheshmal Kalal awarded by many trophies. Firstly, he won a prize in Ahmedabad show Dance Ahmedabad Dance, Zara Nachke Dikha He, Vibrant Gujarat, etc

Vivek Sharma’s Kimaach Based On The Time Of Emergency

Vivek Sharma, who directed Bollywood megastar Amitabh Bachchan in a film  Bhootnath, is now going to make a film based on the Emergency, ‘Kimaach’.

The story “KIMAACH” is based on the struggle of Muslim Couple during the times of 1975 – 1976 Emergency.

On this Vivek Sharma replies “We will be also recreating that era of 1975. Its a good expensive Big Budgeted film and This will be made in two languages -Hindi and Tamil. Entire Shooting will be held in the state of Uttar Prades.

The biggest Surprise factor is that 2 Big Tamil star has been roped in, Name of the star will be revealed as the project progresses. Well, this sounds a bit Prestigious and Hard-Hitting Cinema isn’t it?

The film will be Produced by Filmzone and Directed by Vivek Sharma. Which is on a very sensitive and touching story.  The film is being made in Hindi and Tamil language.   The writer of this film is also Vivek Sharma himself.  He say that this is an important film in my life.   Recently, Vivek Sharma shared a poster of this film, in which he is seen in a very aggressive look.

         

Now it will be very interesting to know further whether Vivek Sharma will also act in it?  Because along with writer-director, Vivek Sharma is also good  actor who has been seen in his previous film ‘A Game Called Relationship’.  Vivek Sharma presented the true sense of live in relationship with great beauty in this film.  This film was not only appreciated by the critics but Vivek Sharma’s performance was also praised.

—-Virendra Mishra

Vivek Sharma’s Kimaach Based On The Time Of Emergency

Vivek Sharma, who directed Bollywood megastar Amitabh Bachchan in a film  Bhootnath, is now going to make a film based on the Emergency, ‘Kimaach’.

The story “KIMAACH” is based on the struggle of Muslim Couple during the times of 1975 – 1976 Emergency.

On this Vivek Sharma replies “We will be also recreating that era of 1975. Its a good expensive Big Budgeted film and This will be made in two languages -Hindi and Tamil. Entire Shooting will be held in the state of Uttar Prades.

The biggest Surprise factor is that 2 Big Tamil star has been roped in, Name of the star will be revealed as the project progresses. Well, this sounds a bit Prestigious and Hard-Hitting Cinema isn’t it?

The film will be Produced by Filmzone and Directed by Vivek Sharma. Which is on a very sensitive and touching story.  The film is being made in Hindi and Tamil language.   The writer of this film is also Vivek Sharma himself.  He say that this is an important film in my life.   Recently, Vivek Sharma shared a poster of this film, in which he is seen in a very aggressive look.

         

Now it will be very interesting to know further whether Vivek Sharma will also act in it?  Because along with writer-director, Vivek Sharma is also good  actor who has been seen in his previous film ‘A Game Called Relationship’.  Vivek Sharma presented the true sense of live in relationship with great beauty in this film.  This film was not only appreciated by the critics but Vivek Sharma’s performance was also praised.

—-Virendra Mishra

Kathak’s Antiquity Dates Back To The Mauryan Period Dance Is My pran – Atman And Soul Says Kathak Guru Shovana Narayan

9 September, 2020, Kolkata: “Dance is my pran, atman and soul. I loved both part of my life – being a dancer and a bureaucrat. I entered the world of dancing when I was barely three-year-old and before my formal education. There is a framed lehenga of mine at home which shows how small I was when I was initiated into dancing,” said kathak guru Padma Shri, Shovana Narayan, while connecting with a cross-section of audience across India through a session of Ek Mulakat presented by Shree Cement and organized by “https://pkfoundation.org/” Foundation.

Shovana was responding to a question from kathak exponent and conversationalist Shinjini Kulkarni of Ehsaas Women – “How did you manage to become a dancer and a bureaucrat?”

Shovana, a woman of stupendous achievements, is a kathak guru, choreographer, former bureaucrat, author and a researcher. Belonging to the guru-shishya parampara (tradition), Shovana believes in expanding the boundaries of kathak through cross-cultural experimentation and innovation in dance styles while rooted to kathak’s ancient Indian tradition.

Prabha Khaitan Foundation showcases India’s rich cultural legacy through various initiatives in India and abroad. Ek Mulakat is an exclusive initiative that allows patrons to rendezvous with legends and stalwarts from various walks of life like Shovana Narayan. It was an honour to host her and we look forward to more such enriching sessions,” said Manisha Jain, Branding & Communication Chief, Prabha Khaitan Foundation.

Shovana Narayan has popularised kathak in international fora by weaving dance and philosophy in her craft. She has successfully choreographed many international collaborative works with kathak and Western classical dance, Flamenco, tap dance, Buddhist chants and so on. In 2003, she choreographed the opening and closing ceremonies of Abilympics. Shovana has won over 37 national and international awards including Padma Shri, Sangeet Natak Akademi award, Japan’s OISCA Award, Bihar Gaurav Award and so on.

Shovana started learning kathak as a child in Calcutta under the tutelage of Sadhana Bose, then she moved on to Bombay and continued under guru Kundanlal ji Sisodia of the Jaipur Gharana and later she moved to Delhi under Pandit Birju Maharaj.

“I will never forget my indebtedness to Guru ji Birju Maharaj who announced my performance prior to his own performance at the Sapru House in Delhi. That was the kind of launching pad I got for my first stage performance,” she said.

Reflecting on her research on kathak, its antiquity, and “kathak villages”, Shovana recounted that about 17 years ago she was in Bodh Gaya for a performance and came to know about villages known as “kathak villages” for the first time from a journalist. “I found two or three such villages and later, along with an IAS colleague of mine, we started on our journey to discover these “kathak villages” and went from village to village, met people and gathered records and official documents and started delving deeper,” she said.

Sharing her findings on how ancient kathak was, Shovana said, “An epigraph from Kameshwar archive in Mithila has been confirmed by epigraphists to date back to the Mauryan period which is BC. The inscription in prakrit and brahmi lipi clearly mentions kathak as devotional dancing and mentions the region around Varanasi.”

“The kathak dance we see today is very different from the kathak community. The sculptures depicting dance forms in today’s standing temples, at best, go back to about a 1000 to 1100 years. So where are the temples and sculptures of the Gupta and Mauryan period which were so rich in architecture and sculptures! We don’t look into the small museums and archives of India which is the haven of information. That is where we have to see and find continuity in the form and stance of the kathak dance,” Shovana  said.

    

“I believed in myself and have never deviated from kathak, I was true to my kathak tradition just like the Western classical dancers were to their’s. So what did we do? We just found commonality in terms of poems, moods and even movements but the emphasis, the field and flow, as in the approach, tenor and flavour is different. I am careful about using the term fusion which means I lose my identity to merge myself into something. No, I keep my identity, so do they, and it is a beautiful collage of patterns and rhythmic dimensions,” she said

Ek Mulakat series of webinars have connected artistes, achievers, cultural aficionados, thinkers and authors with people across India and other continents.

Kathak’s Antiquity Dates Back To The Mauryan Period Dance Is My pran – Atman And Soul Says Kathak Guru Shovana Narayan

9 September, 2020, Kolkata: “Dance is my pran, atman and soul. I loved both part of my life – being a dancer and a bureaucrat. I entered the world of dancing when I was barely three-year-old and before my formal education. There is a framed lehenga of mine at home which shows how small I was when I was initiated into dancing,” said kathak guru Padma Shri, Shovana Narayan, while connecting with a cross-section of audience across India through a session of Ek Mulakat presented by Shree Cement and organized by “https://pkfoundation.org/” Foundation.

Shovana was responding to a question from kathak exponent and conversationalist Shinjini Kulkarni of Ehsaas Women – “How did you manage to become a dancer and a bureaucrat?”

Shovana, a woman of stupendous achievements, is a kathak guru, choreographer, former bureaucrat, author and a researcher. Belonging to the guru-shishya parampara (tradition), Shovana believes in expanding the boundaries of kathak through cross-cultural experimentation and innovation in dance styles while rooted to kathak’s ancient Indian tradition.

Prabha Khaitan Foundation showcases India’s rich cultural legacy through various initiatives in India and abroad. Ek Mulakat is an exclusive initiative that allows patrons to rendezvous with legends and stalwarts from various walks of life like Shovana Narayan. It was an honour to host her and we look forward to more such enriching sessions,” said Manisha Jain, Branding & Communication Chief, Prabha Khaitan Foundation.

Shovana Narayan has popularised kathak in international fora by weaving dance and philosophy in her craft. She has successfully choreographed many international collaborative works with kathak and Western classical dance, Flamenco, tap dance, Buddhist chants and so on. In 2003, she choreographed the opening and closing ceremonies of Abilympics. Shovana has won over 37 national and international awards including Padma Shri, Sangeet Natak Akademi award, Japan’s OISCA Award, Bihar Gaurav Award and so on.

Shovana started learning kathak as a child in Calcutta under the tutelage of Sadhana Bose, then she moved on to Bombay and continued under guru Kundanlal ji Sisodia of the Jaipur Gharana and later she moved to Delhi under Pandit Birju Maharaj.

“I will never forget my indebtedness to Guru ji Birju Maharaj who announced my performance prior to his own performance at the Sapru House in Delhi. That was the kind of launching pad I got for my first stage performance,” she said.

Reflecting on her research on kathak, its antiquity, and “kathak villages”, Shovana recounted that about 17 years ago she was in Bodh Gaya for a performance and came to know about villages known as “kathak villages” for the first time from a journalist. “I found two or three such villages and later, along with an IAS colleague of mine, we started on our journey to discover these “kathak villages” and went from village to village, met people and gathered records and official documents and started delving deeper,” she said.

Sharing her findings on how ancient kathak was, Shovana said, “An epigraph from Kameshwar archive in Mithila has been confirmed by epigraphists to date back to the Mauryan period which is BC. The inscription in prakrit and brahmi lipi clearly mentions kathak as devotional dancing and mentions the region around Varanasi.”

“The kathak dance we see today is very different from the kathak community. The sculptures depicting dance forms in today’s standing temples, at best, go back to about a 1000 to 1100 years. So where are the temples and sculptures of the Gupta and Mauryan period which were so rich in architecture and sculptures! We don’t look into the small museums and archives of India which is the haven of information. That is where we have to see and find continuity in the form and stance of the kathak dance,” Shovana  said.

“I believed in myself and have never deviated from kathak, I was true to my kathak tradition just like the Western classical dancers were to their’s. So what did we do? We just found commonality in terms of poems, moods and even movements but the emphasis, the field and flow, as in the approach, tenor and flavour is different. I am careful about using the term fusion which means I lose my identity to merge myself into something. No, I keep my identity, so do they, and it is a beautiful collage of patterns and rhythmic dimensions,” she said

Ek Mulakat series of webinars have connected artistes, achievers, cultural aficionados, thinkers and authors with people across India and other continents.