దక్షిణాసియా క్రీడల్లో భారత్ బోణీ.. ఒకే రోజు 4 పతకాలు

దక్షిణాసియా క్రీడల్లో(శాగ్) ఓ స్వర్ణం, రెండు రజతాలు, ఓ కాంస్యంతో భారత్ బోణీ కొట్టింది. ట్రైథ్లాన్ ఈవెంట్లో ఎమ్ఎన్ సినిమోల్ అగ్రస్థానంలో నిలిచి.. దేశానికి తొలి స్వర్ణాన్ని అందించాడు.

South Asian Games: India opens medal account with 1 gold, 2 silver, 1 bronze in triathlon

దక్షిణాసియా క్రీడలు

Published : Dec 2, 2019, 5:02 PM IST

నేపాల్లో సోమవారం ఘనంగా ప్రారంభమైన దక్షిణాసియా క్రీడల్లో(శాగ్) భారత్ శుభారంభం చేసింది. తొలిరోజు ఓ స్వర్ణం, రెండు రజతాలు సహా ఓ కాంస్య పతకాన్ని ఖాతాలో వేసుకుంది. ఈ నాలుగు పతకాలు ఒకే ఈవెంట్లో రావడం విశేషం.

ట్రైథ్లాన్(మూడు క్రీడలు కలిపి) ఈవెంట్ పురుషుల విభాగంలో ఎమ్.ఎన్ సినిమోల్.. భారత్కు తొలి స్వర్ణాన్ని అందించాడు. ఇదే విభాగంలో రెండో స్థానంలో నిలిచిన బిశ్వర్జీత్ శ్రీఖోమ్ రజతాన్ని కైవసం చేసుకున్నాడు. మహిళా విభాగంలో సరోజిని దేవి.. రజతం, మోహన్ ప్రజ్ఞ్యా.. కాంస్యం దక్కించుకున్నారు.

ట్రైథ్లాన్ ఈవెంట్ అంటే?

ట్రైథ్లాన్లో ముఖ్యంగా మూడు పోటీలు ఉంటాయి. 750 మీటర్ల స్విమ్మింగ్, 20 కిలోమీటర్ల బైక్ రేసింగ్, 5 కి.మీ పరుగు పందెం నిర్వహిస్తారు. ఒకదాని తర్వాత ఒకటి మూడు పోటీల్ని పూర్తి చేయాలి.

సినిమోల్.. గంట 2 నిమిషాల 51 సెకన్లులో ఈ ఈవెంట్ను పూర్తి చేసి మొదటి స్థానంలో నిలిచాడు. బిశ్వర్జీత్.. గంట 2 నిమిషాల 59 సెకన్లతో రెండో స్థానంలో నిలిచాడు. నేపాల్కు చెందిన బసంతా తరు మూడో స్థానంతో సరిపెట్టుకొని కాంస్యం సొంతం చేసుకున్నాడు.

మహిళల వ్యక్తిగత విభాగంలో సరోజిని.. గంట 14 నిమిషాల సమయంలో ఈ ఈవెంట్ను పూర్తి చేసింది. ప్రజ్ఞ్యా.. గంట 14 నిమిషాల 57 సెకన్లతో మూడో స్థానంలో నిలిచింది. నేపాల్కు చెందిన సోనీ గురుంగ్.. గంట 13 నిమిషాల 45 సెకన్లతో పసిడి కైవసం చేసుకుంది.

దక్షిణాసియా క్రీడల్లో భారత్ నుంచి 15 విభాగాల్లో 487 అథ్లెట్లు పోటీపడుతున్నారు. ప్రస్తుతం ఆరు స్వర్ణాలు, రెండు రజతాలు, ఓ కాంస్యం సహా 9 మెడల్స్తో పతకాల పట్టికలో నేపాల్ అగ్రస్థానంలో ఉంది.

ఇదీ చదవండి: ఘనంగా రెజ్లర్ బబిత వివాహం.. హాజరైన ప్రముఖులు

ట్రైథ్లాన్ ఈవెంట్ అంటే?

ఇదీ చదవండి: ఘనంగా రెజ్లర్ బబిత వివాహం.. హాజరైన ప్రముఖులు

SHOTLIST:
RESTRICTION SUMMARY: AP CLIENTS ONLY
MASTERCLASS CLIPS ARE CLEARED FOR MEDIA BROADCAST AND/OR INTERNET USE IN CONJUNCTION WITH THIS STORY ONLY. NO RE-SALE. NO ARCHIVE.
COMMERCIAL MUSIC, MUSIC VIDEO AND OR PERFORMANCES, MUST BE CLEARED ACCORDING TO YOUR OWN LOCAL MUSIC PERFORMANCE AND COPYRIGHT AGREEMENTS WITH YOUR APPLICABLE COLLECTING SOCIETY.
COURTESY OF MASTERCLASS - ON SCREEN COURTESY REQUIRED
1. Trailer clip- Misty Copeland Masterclass
ASSOCIATED PRESS
New York, 19 November 2019
2. SOUNDBITE (English) Misty Copeland, Principal Dancer, American Ballet Theatre:
"I guess a lot of people don't typically look at ballet dancers as athletes, and we are. And so those components, you know, your mental health, your confidence, understanding and being able to use your life experiences to be an artist. All of those components and elements are just as important as the technique that we learn since we were children._ the ballet technique. I don't know that people realize how important those things are. You know, dancers aren't just up there doing physical activity or they're not just up there twirling around and It looks so effortless, it's because we work at it for so long to make it look that way. But on top of it, you have to be an incredible actress. You have to have to have like just an understanding of adapting in the moment with live theater, you know you have an orchestra. There are so many elements that are out of your control. You just really have to be very self-aware, present, vulnerable, like all of these things. And so it was just as important for me to speak about my life, my background, the obstacles that I've had, you know what I eat, the people that have inspired me as well as ballet technique."
COURTESY OF MASTERCLASS - ON SCREEN COURTESY REQUIRED
3. Trailer clip- Misty Copeland Masterclass
ASSOCIATED PRESS
New York, 19 November 2019
4. SOUNDBITE (English) Misty Copeland, Principal Dancer, American Ballet Theatre:
"I have always been so open about speaking on the topic of the lack of diversity in classical ballet and I think once I became a principal dancer, a lot of people look at it like, 'OK, that's done. Like we've moved, we've grown, there's no more racism in ballet or in the world with, you know, President Obama.' And it's like, no. We're so far from that and I think my responsibilty is to just continue to work and be a representation as if I don't have all of this experience. But, being a principal dancer I feel like you're even under more of a microscope and I think people think like, 'Oh, you get there and everyone's just gonna love you.' But you're more visible and it's been a tough journey and I think that the reason I've gotten to this point and level in my career is because I feel like my past really has built the strength and the courage and the will to be able to handle all of this, though of course it's extremely difficult at times. You're not gonna be that strong all the time."
COURTESY OF MASTERCLASS - ON SCREEN COURTESY REQUIRED
5. Trailer clip- Misty Copeland Masterclass
ASSOCIATED PRESS
New York, 19 November 2019
6. SOUNDBITE (English) Misty Copeland, Principal Dancer, American Ballet Theatre:
"I was in I think Singapore and someone filmed it in the theater and then posted it on YouTube, my third act in 'Swan Lake' as Odile doing the 32 fouettes and, I mean I've experienced a lot of just ridiculous hate online. But this was like another level of just trying to like really just dig in there. I mean it's not coming from a good place and for me like I'm always very proud of myself for being a professional. I would never go on stage _ I have so much respect for what I do and for the history of ballet and for American Ballet Theatre, for the theaters I perform in, the orchestras, so I would never go on stage and not be prepared."
COURTESY OF MASTERCLASS - ON SCREEN COURTESY REQUIRED
7. Clip- Misty Copeland Masterclass
ASSOCIATED PRESS
New York, 19 November 2019
8. SOUNDBITE (English) Misty Copeland, Principal Dancer, American Ballet Theatre:
"It's for a bigger purpose. It's not like, 'oh, just come see Misty and then when she retires that goes away.' But it's to, for me, it's to bring in people that have not felt welcomed or accepted in these spaces. And I know once they're in the door, they'll fall in love with it. It's introducing the next generation, showing them that ballet is still alive."
POOL - DICK CLARK PRODUCTIONS
Los Angeles, 24 November 2019
9. Wide of Misty Copeland arriving at the American Music Awards
ASSOCIATED PRESS
New York, 19 November 2019
10. SOUNDBITE (English) Misty Copeland, Principal Dancer, American Ballet Theatre:
(Reporter: What do you see yourself doing 10 years from now?)
Copeland: "Oh my God. There's no way I could tell you, even (what I'll be doing) a year from now. Whenever I look back, I'm like, what? How did I end up doing all these amazing things that I never imagined my path would direct me in that way. I always stay open to whatever's going to happen but dance and ballet will forever be a part of everything that I do, I think. I'm venturing into so many different genres of art at this point but ballet has alwasy been the catalyst to get me there."
ASSOCIATED PRESS
ARCHIVE: New York, 21 March 2017
11. Various of Misty Copeland in ballet class
STORYLINE:
IN ONLINE MASTERCLASS, MISTY COPELAND TEACHES BALLET TECHNIQUE AND IMPARTS SOME IMPORTANT LIFE LESSONS
Yes, that was Misty Copeland at the American Music Awards the other night, dancing a passionate duet with partner Craig Hall as Taylor Swift sat at the piano singing her hit, "Lover."
That's also Copeland in a new holiday ad campaign, kicking her legs high enough to touch her face in metallic stilettos. Copeland's also working on a new silent film with her production company, and a Hollywood biopic of her is in the early stages.
No ballet dancer has crossed over into mainstream popular culture as has Copeland, who in 2015 made history when she became the first black female principal dancer at American Ballet Theatre, soon after making her high-profile debut in "Swan Lake."
With all her other projects, Copeland, now 37, still spends most of her time in the ballet studio, honing both her body and her craft to stay at peak performance level for her day job.
But she recently invited cameras into the ballet studio for her new MasterClass, becoming the latest celebrity to host the online teaching series, alongside Anna Wintour, Aaron Sorkin, Annie Leibovitz, Bob Iger, Natalie Portman and others.
"Dancers aren't just up there doing physical activity or they're not just up there twirling around and It looks so effortless," said Copeland. "It's because we work at it for so long to make it look that way. But on top of it, you have to be an incredible actress. You have to have to have like just an understanding of adapting in the moment with live theater, you know you have an orchestra. There are so many elements that are out of your control. You just really have to be very self-aware, present, vulnerable, like all of these things. And so it was just as important for me to speak about my life, my background, the obstacles that I've had, you know what I eat, the people that have inspired me as well as ballet technique."
Copeland also opens up in the class about being criticized online for not being able to perform the 32 fouette turns in a performance of "Swan Lake" and doing a different step instead.
"I was in I think Singapore and someone filmed it in the theater and then posted it on YouTube, my third act in 'Swan Lake' as Odile doing the 32 fouettes and, I mean I've experienced a lot of just ridiculous hate online. But this was like another level of just trying to like really just dig in there. I mean it's not coming from a good place and for me like I'm always very proud of myself for being a professional. I would never go on stage _ I have so much respect for what I do and for the history of ballet and for American Ballet Theatre, for the theaters I perform in, the orchestras, so I would never go on stage and not be prepared."
When Copeland started dancing principal roles, there were suddenly diverse crowds coming to ABT ballets. She believes that interest will last beyond the so-called "Misty effect."
"It's for a bigger purpose," she said. "It's not like, 'Oh, just come see Misty and then when she retires that goes away.' But it's to, for me, it's to bring in people that have not felt welcomed or accepted in these spaces. And I know once they're in the door, they'll fall in love with it. It's introducing the next generation, showing them that ballet is still alive."
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