Kala Guru Jaimin Kanan’s ardent desire for aesthetic perfection began with the age of 15 years and has now reached a crescendo simultaneous to his blossoming out into total youthhood.
Teaching Bharat Natyam form of dance has been his profession for long but has proficiency and aspirations to attain the heights of artistic creativity and spiritual manifestation through art eliminated with the founding of Sarjan Shree Bharat Natyam Kala academy in the years 2002.
Renowned Gurus smt Neelaben Raval and Shree Veelaben raval shaped his classical dance form capabilities in the initial years which went on to assume excellence and maturity also through worthy guidance from guru shreemati Elakshiben Thakur and shree Chandan Thakur of Natavbharati, Ahmedabad.
Kala Guru Jaimin Kanan has put in immense hard work and sincere perseverance while imparting the nuances of art to his students and he draws upon carved sources for updates on the art field he truly stands out as an imposing personality on the horizon of classical dance form of art . A notable feature of the study of Sarjanshree is that the cuoriwlvam includes salient aspects of meditation and innerpeice.
Bharatnatyam is the classical dance of South India. It has its origins in the ritual dancing of the devadasis, the temple dancers, and in the classical rules of Indian theatre arts.
The word Bharatanatyam consists of the first syllables of the words bha va (expression), ra ga (melody), ta la (rhythm) and Natyam (dance). Bharatanatyam is an image of the perpetual cosmic dance and the yearning of the human soul for union with the absolute. In the Vedas, the collection of ancient Indian literature, the gods, and goddesses are compared to dancers.
The highest absolute manifests itself as Siva-Nataraja, king of all dancers, who´s cosmic dance represents creation, preservation, and destruction of the world. Modern physics has shown what Indian philosophy has found out through meditation: that movement and rhythm are the main properties of matter. The entire universe is in constant movement and activity. All matter takes part in the eternal cosmic dance. With regard to the technique and the form of presentation nowadays, the most applicable comparison to Bharatanatyam would be the classical ballet, although the spectrum of movements and the narrative contents of the dances are fundamentally different. The repertoire which received its form by four famous musicians and dancers from Tanjore in South India ( Tanjore Quartet ) in the 18th century, includes abstract and narrative dances in a particular sequence.