It was titled ABHIJATA - The Eternal Tradition - a hard task, looked at from any angle- to fulfill and to sit right through four days from 9-30 A.M to 2 P.M- and that is provided the workshops which started at 8 am and were again from 3-4p.m, were left out of the reckoning! Curated by the Kathak couple from Bangalore, Rajendra and Nirupama, the criticism by some that it featured a more than necessary number of artistes from Bangalore, seems unfair. When there is such a large pool of specialists representing various art expressions available in Bangalore where the planners of the festival live, what is the harm in enlisting their services? And a cursory look showed that  there were hosts of other names-  starting with Padma Subrahmanyam, Piyal Bhattacharya, the Dhananjayans, Shijith Nambiar and Parvathy Menon, senior dancers like Madhavi Mudgal, Uma Dogra and one had Sunil Sunkara   Archana Raja, Kasi Aysola, Harshita Sharma Dadheech, Kavya Ganesh, Rama Venkataraman, K.P.Rakesh, not forgetting artistes and art managers settled abroad like  Hema Rajagopalan, Sujatha Srinivasan  and Piyali Ray , Sashadhar Acharya of Seraikella, the Lavani performers from Maharashtra,  Cinematographer and film maker Rajiv Menon – the list is pretty long - and jaundiced criticisms are best avoided. That with the Conference collaborator Aalaap with Akhila Krishnamurthy meticulously managing communication, and event execution and logistics, the 41st Natya Kala conference was most certainly conducted, very efficiently. The only problem was that with no Lunchbreak specified in the time table of events, one either missed out on an event or waited till after 2-30 p.m. before dispersing for lunch!

One could not have thought of a more fitting opening than Bhanaka by Piyal Bhattacharya, who for25 years has been conducting diligent research into what he calls Marga Natya based on our most ancient text on the Arts- the NatyaSastra -  recreating the relationship between the Nata and Natya  . To understand theatre in India, one needs to go into its beginnings . Apart from the movement (Nritta), his research in recreating the musical instruments like the ‘Vakra Veena, Kachhapi Veena,(innumerable types of veenas operating then) mridanga, Dardaru , Pranav,’ he has worked tirelessly at reconstructing the Purva Ranga Vidhi. True to the timeless wisdom of the arts, in our culture, the actor/dancer connects his art with the divine- Nada roopa Maheswara. The actor was a revelation - moving, reciting poetry, dancing, singing, speaking in fluent Sanskrit, Hindi, -establishing in the Sankalpam the provenance – (the performance space, time, date and where it is situated), evoking the Satvas, the inseparable nature of Shiva and Shakti in Natya, with abhinaya and  fluidity in the dance movements- which had to be seen to be believed!  Having seen what Piyal was working at in Poone, during a festival, years back, I was astonished at how much more sophisticated in all aspects, (Angika, vachika, Aharya ) the entire presentation has become! Truly a heart- warming performance!

The next session on Shastranubhooti was by Shatavadhani Dr.R Ganesh, an authority on various aspects of Indology. He said pithily in one sentence that Shastras do not proscribe – they reveal and he gave the example of sculpture, where the figure, already present in the stone, has only to be made to stand out- by removing the unnecessary portions hiding it from view. Parroting Shastra does not mean owning it. Shastra is memory, which should be strong. True Veda is within and brahma gyana is needed for reciting Vedas. But one needs to transcend this. The boat helps to take you to the other shore- but once there, you leave it behind and step ashore. Shastras are like the Sun’s light and are not party to Politics. The image of the Sastras depends upon the mind – if the mind is polluted, the Sastras too will be polluted. Shasta can give one a direction. With the help of this direction a Sastra Parampara is established. Open mindedness is needed to accept what is given. Sastra is only a Pramana, Natya Sasra is a Pramana- suggestive than  prescriptive. But Natya Veda is a revelation, which comes out of an experiential journey. The speaker said that there is no copyright to Gyanam. ‘The Sun does not go in search of the East – wherever the Sunrises is the East.is how he put it.

DANCE BASED ON AMARUSHATAKAM VERSES

The next session, pertaining to abhinaya interpretation was built round verses from Amarushatakam - whose origin has been explained with several unverified theories, but whose erotic poetry has been described, by many experts, as being comparable with the best of  sringar verses in Sanskrit. Padmini Upadhya, Sunil Sunkara,  and couples Shijith Nambiar and Parvathy Menon and Archana Raja and Kasi Aysola were the artistes commissioned for this section -  with Arun Bhardwaj as Resouce person. Lovers faced with the embarrassment of the pet parrot repeating all the words of love exchanged during the night between the couple, the  Abisarika setting out to meet the lover and to her shock finding him with another woman, were all done with good understanding of situation and its interpretation. But none could beat Shijith and Parvathy, whose use of music, and harnessing of instruments in the two or three minute presentation spoke of high imagination. Lovers in idyllic bliss are separated when message comes that duty calls and he has to leave.  Mourning his absence, the nayika waits endlessly, becoming like a stone in her grief, unable to reconcile herself to his absence. When he returns after a long time, it takes some effort for him to make her come to terms with what has happened and respond to him. Even as the lovers are lost in joyous reunion, comes the dreaded mridanga knock on the door! With trepidation the man goes to open the door – and reads the ominous message again – a call for duty! As he slowly reaches her side, she takes her hand and shaking her head, covers his mouth as if entreating him not to mention going away again - a gesture that spoke volumes – almost bringing tears to the eyes of the audience. Delightfully bhav- soaked music too!

Sunil Sunkara showed Shankara, agonizing over the lifeless body of Sati through a Dha ta ka Thunga frenzy, his sorrow against a world full of coupling lovers all the more poignant.” You will return to me as my other half and only then will I be complete.” He promises. And she does just that as Parvati. But was this incident based on verses from Amarushatakam? When this writer contacted Nirupama, the answer was ‘What Sunil presented was an inference from Amaru poetry-  and added in a proclamatory tone -  “We give out artists freedom of expression! I will ask him to talk to you about his presentation.” After several unsuccessful attempts at contacting the dancer from my end, Sunil finally got in touch with me himself, apologizing for the delay because he failed to see the e mail while on tour, and the phone number I had received from the Editor of the portal I write for, was apparently, no longer operable. The dancer explained his point of view, mentioning the opening Mangalacharan verse in Amaru, addressed to Ambika (Parvati) as the Goddess of love -and the image of the Nayaka is shown with a Bow and Arrow-thereby alluding to valour and courage required in love. The verse makes clear that this work on erotic sringar refers, not to lewd lust but to the power of true love. How can a reference to Parvati not have Shiva and here Sunil is inspired by the theory that  Amarushatakam, is the work of Shankaracharya, who in order to experience sringar rasa he was alien to, and win the debate on erotic love against Ubhaya Bharati, the wife of Mandana Misra, used his yogic powers to invade the corpse of Mandana Misra, and through the now living body, acquired the experience  he lacked.- after which he penned Amarushatakam verses! Keeping in mind the Shiva/Parvati connection,  the dancer made the analogy of Shiva and Sati – that not even Death could destroy true love – and as Parvati in the next birth, she becomes  Shiva’s spouse – partners of true love seeking each other in following births too. And what could better illustrate sringar in all its power? And mentioning a 102nd verse  in Amaru (the work has only hundred verses ) Sunil  while dealing with a work based on sringar, believes the justice of a further twist - of love not ending in death, but having unconquerable immortality. And hence his interpretation. Nobody  wants curbs on the creative spirit – Interpretations of any text can vary – One has only one remark - “interesting. “

The  Nritta Pratimala, of stringing together extempore movements was built on the choreographic requirement of sticking to the subject given and of taking off from the last action of the previous dancer – akin to antakshari played with songs and verses. Each of the dancers was given the task of bringing out the qualities of a season through what was presented. The youngsters, all very pleasant, displayed an emotive feel for what each was presenting – all showing promise for blossoming into mature composers. Sreema Upadhyaya student of Bangalore’s Bharatanatyam dancer Praveen D.Rao  was given Vasanta when the whole of Nature is in full bloom, Odissi dancer Anushree Padmanabha, was asked to build her narrative round the heat of Grishma when plants and animals wither away in need of water: Harshita Sharma Dadheech, the Kathak dancer of the Dadheech family was given Varsha – the Monsoons - an oft treated theme in this dance form. Ramya Venkataraman, a student/teacher/yoga trainer rolled in one, who is a disciple of Padma Subrahmanyam, was asked to focus her presentation round Sharad- which is mid -September to mid -November. Vithya Arasu also a student of Padma, who, apart from Bharatanatyam, Bharatanrittam and Odissi is also familiar with Mohiniattam, Vilasini Natyam,   Chhau ,Kandyan Dance and what have you, was allotted Hemantha, which is late Autumn.

  The second morning started with Sanyojana-  Creative Orchestration for Dance by Praveen D.Rao, who has been providing Music for several dance programmes. With several ‘streams of movement frozen in one moment’ Praveen D.Rao stated that dance had opened up choices for the musician too. While in a song, Vaakyaartha is important, the sancharis throw open a lot of musical possibilities. All instruments do not have to be used all the time- some like the percussion can be used to specify an act – like ringing of the doorbell for instance. Today one has gone beyond sticking to either only Carnatic or only Hindustani ragas. Music today has a give and take, making for richer possibilities. Music can evoke a feel of activity not  being directly shown on stage  – like a Dream sequence when the heroine is sleeping -day break suggested with the cawing crow, sounds of water dripping – sounds of ware being sold outside – all these can be very suggestive. Similarly just using the Bol sounds like ‘Kitataka Dhadhigina Dha can suggest an angry nayika having a heated argument. In Ram Katha,  Shoorphanakha  enters to traditional music, and the background music slowly changes to peremptory sounds like the British Band Music as the participant changes to  Maya Shoorphanaka ! She is portrayed moving between the two forms of music. Using abstract music in creative ways adds another dimension to the production. Clearly the possibilities are endless.

DAMPATYAM

Do hearts meet for Art, or does Art result in hearts meeting? Either way, some meetings like that between V.P.Dhananjayan and Shanta Dhananjayan, have often been the subject of discussion. Brought to Kalakshetra in 1939 by Chandu Panikkar as a thirteen year old, Dhananjayan who went on to become the lead dancer in Kalakshetra dance drama productions, met Shanta in 1952- when she came to Kalakshetra - to be quickly recognized as a child prodigy. She soon became the heroine in all Rukmini Devi productions. Dhananjayan and Shanta got married in 1966 and the couple started their own institution Bharata Kalanjali in 1968. As Dhananjayan put it, Shanta became the Eternal Sita to his Rama.

The other dance couple in Kathak, Maulik Shah and Ishira Parikh, with a sense of humour, mentioned that even rivers flowing so much in unison, freeze at times and so too their union over the years has experienced moments of Ched/Chad as much as moments of complete togetherness  - for both are head strong  and like having their way. But it is Dance that in the end has kept them together, for their on -stage chemistry is good. Teaching is a good discipline for it trains one to be inclusive. Dampathyam should not descend to  Hathyam , one couple said with an ability for laughing at themselves – a sense of humour needed as a palliative to every awkward  situatin.

   Sandhya Kiran mentioned that by saying nothing, she ultimately shows Kiran Subrahmanyam the Mirror, and he realizes his mistake. Pressure is always more on the Woman in an alliance was a statement. Could one take this as a summing up?

INDIAN PRINCIPLES IN GRECO-ROMAN DRAMATURGY

Equally well versed in Sanskrit and several Indian languages, as in European languages like English, German and Greek, a polyglot like Arun Bhardwaj is obviously the best choice to deliberate  on a comparative study of Greek and Indian dramaturgy. The only problem lay in the time factor and having to cram far too many ideas into a half hour lecture made the speaker speak so fast that for audiences not fully acquainted with the subject, (and I include every one of us in this) keeping up with what was said, became a Herculean task! Both Greek and Indian thought perhaps shared the belief that Art is uplifting and elevates the individual.  That Greek art regarded the human form as the important subject for any artistic search, like Sculpture, for instance, is clear, from the plethora of examples. India too worships its Gods in the anthropomorphic form – but with a definite distinction between the secular and the religious.  But one was interested in knowing if the Indian belief that ahamkara and I ness, had to be shed for art to create Ananda and Rasa, was shared in Greek art. It was not very clear to me in the mention of both Greek and Indian dramaturgy having a holistic, philosophical approach to Art and Theatre. Both were interested in human emotions and the universality of the Natya Sastra  with its theory of rasa was referred to-  with a mention of nobler and baser emotions or  states- of -being. The speaker referred to Hesiot , ancient Greek poet and his theory on the birth of the Nine Muses  of Science and Art born to Zeus and Mnemosine  -Calliope ,Clio, Erato, Enterpe, Melpomene,  Polymnia, Terpsichore ( Goddess of Music and light verse) Thelia, Urania. Mythology was believed to be not lies- but metaphorical poetry. Later pro-Socrates philosophy criticized the anthropomorphic depiction of gods in Homer and Hesiat. The chief difference between the Greek approach and Indian Dramaturgy was in the stylized approach of Indian Theatre as against the realistic ‘Desi approach in Greek theatre. Indian plays like Shakuntalam did not strictly follow the linear approach as in Greek theatre.

PADMA SUBRAHMANIAM ON LOKA AND NATYA DHARMI

Padma Subrahmanyam’s lecture was on the blend of Dharmis in dance to remove the misconception that many have of what we refer to as ‘folk art being all loka, with classical art believing only in stylized Natyadharmi type of representation. Natya is holistic and Padma made it clear to dancers that Desi and Marga have nothing to do with the dharmis.  There is the element of Adhyatma or self expression which comes from the innermost feelings (can one equal it to spirituality ). She maintained her belief in Samanya abhinaya, Chitrabhinaya, Loka and Natya. In her own productions like Krishnama tubhyamnamah  Padma uses both-  naturally stepping from one to the other seamlessly. For instance while showing stepping down from a chariot or showing the up and down action of the swing, or showing a particular character executing a deed, there is a natural lokadharmi movement going on to the natyadharmi as the action goes on without any self-conscious shift from one to the other -and one needs to understand this. No text proscribes lokadharmi. The natural and the stylized exist together – not in exclusivity.

KAL KE KALAKAR

In traditions passed on from the  Guru to his students who in turn pass on their art to a new group of aspiring dancers, the traditional art forms still exist only  because of their past Gurus. And giving us a peep into the contribution of erstwhile great teachers by grateful senior students - were  two senior dancers. Odissi dancer and teacher Madhavi Mudgal recollected some aspects of her Guru late Kelucharan Mohapatra’s teachings. His approach to Music had itsstrict classical orientation. He never stepped down from the standards of the likes of Bhubaneswar Misra and Raghunath Panigrahi. He gave each Pallavi a character through the nritta movement which drew its tone from the music. No two Pallavis are alike. No other guru conceived of upper torso movements in Odissi,  imparting them with such grace. And no student can forget the magic of his Mardal play- which was in a category unparalleled to this day. Equally exceptional was the way he choreographed the Ashtapadis,  – which again was different from his approach to Oriya compositions like Kede Chhanda Janilo Sahi Nanda Rajaru tiki Pillati. His feel for grace, for laya, for conveying bhava were all unforgettable.

A Ganda Bandh disciple of late Pandit Durga Lal, Uma Dogra, like his other students was shocked and badly hit by the Guru’s unexpected early death in his forties. That she sought no other Guru of the Jaipur gharana of Kathak, after his demise, speaks volumes for the kind of impressions Durgalal had made in a shot while, on his students.  As a layakari, few could equal his twinkling feet. With his prowess in tabla playing, his inimitable padhant, a golden voice for singing and his stage presence which made critics call him the Kathak Adonis, not leaving out the impact of his sterling character, he was hard to beat. Just when his Europeon tours for Ghan Shyam the production planned by late Ravi Shankar , with him as the lead dancer, had just started, Durga passed away- -  with dancer Maulik Shah  having to replace him. That whatever Uma had absorbed from the Guru diligently, through rigorous Riyaz, has stood her in excellent stead, is evident when as Founder and Managing Trustee for Samved Society and under the banner of Uma Dogra’s School of Kathak  she has, over more than thirty years,  trained several students in Mumbai. She holds an annual festival in the name of her Guru and her film on her Guru, Nirwana evokes strong memories and images from the past- still very painful, when seeing video clippings of this great dancer perform. While Durga Lal was a laya wizard, he had an inherent shyness in dealing with abhinaya which included sringar- particularly while teaching female students. He himself stayed away from these items. In this department of the dance, Uma Dogra unhesitatingly mentions that her inspiration came from watching Kelucharan Mohapatra -and while he belonged to a different classical form, just watching him present Ashtapadis, was very educative for her and helped her presentation of abhinaya oriented items.

BHOOMIKA – CHARACTER PORTRAYALS IN YAKSHAGANA

 A  Krishna Gana Sabha Conference convened by a dance couple settled in Mysore State, sans a Yakshagana session, would have been as unthinkable as Hamlet without the Prince of Denmark. Keremene Shivananda Hegde the present Director presiding over Yakshagana Mandali with an illustrious heritage of 90 years, leading Srimaya Yakshagana Kala Kendra of Coastal Karnataka, in a very fast moving lecture demonstration, sandwiched into a half hour slot, began with Ganapati Vandana, for He is the God with gajamukhadavage  for SarvaKayeshusarvad- represented by a headgear brought on to the stage.

The speaker described what was presented as belonging to the Bada Badugutittu style of South Canara and this style, shortened and modernized, which uses the Karnataka Chenda drum, was popularized by late Shivaram Karanth. The singer or Bhagavatulu, very important in Yakshagana along with the Himmela or the percussionist forms the modalne vesha. Since this art is performed in open areas, the singing in the shadja grama scale is very high pitched. Now the singing in different ragas , instead of the old drone the Pungi, uses the sruti petti.  The actors can belong to Kirita or Kumara vesha, and form what is termed eradane vesha. Elaborate jewellery like Bhujakeerti which covers the chest and  hairdo Mundasa are  very important aspects of this art form. Elaborate crowns are donned by the Raja Vesha characters. In a fast moving presentation, Oddologa which forms the introduction of a character, received very perfunctory treatment. The Kodangi or jester, in the manner of classical theatre is an important character and his part follows the highly lokadharmi style. In Yakshagana the spoken dialogue is improvised and forms an essential part of a character – and this presupposes a degree of knowledge and understanding about bbthe nature of a character.  It brings to mind for this writer, watching late Shivaram Karanth on the IIC lawns in Delhi, take two words “Kapata Krishna’ (Cunning Krishna)- (finding fault for the manner in which Krishna connived to get the Kauravas defeated with victory for his friends - the Pandavas)- and dancing with abhinaya for over twenty minutes – the variety in the interpretation mind boggling. There was a brief mention of Stree Vesha – time permitting no presentation. The Demoniac characters form an important aspect of this theatre form , with their Koogu or shout from behind the screen . Mangalam finale had all characters.

TANTRIKAM: TECHNOLOGY AND THEATRE

Technology while very much an aspect of any dance presentation, raises questions of How much and whether as an available convenience, it stunts artistes from trying to discover avenues for suggesting situations through the medium of their art alone. Artistic activity needs that challenge to aspire for higher levels. The panel discussion featured Aravinth Kumaraswamy, award -winning Artistic Director of Apsaras Arts Dance Company in Singapore, recipient of Singapore’s Cultural Medallion the highest award, who through 35 full length productions of Bharatanatyam Ensemble work, has not just experimented with collaborations with Cambodian, Balinese and Javanese dance forms, but worked extensively in his works with cutting edge technology. Another panelist was Prachi Saathi  Bharatanatyam student trained under Vaibhav Arekar, now  training under Rama Vaidyanathan. She has brought Bharatanatyam, Warli art and animation together in Where Walls Dance. Another significant panelist was   Bismillah Khan awardee Madhu Natraj of Stem Dance Company ,   an Aspen Global leadership Network Fellow, Arts entrepreneur and Educator with over 45 choreographies to her credit,   and Gaurav Singh Nijer Indian theatre maker, creative technologist and multidisciplinary designer.

  Today with e mail, websites, computers, smart phones, videos, log posts and what have you at your service, to think that Dance will be one area where one does not take recourse to available technology would be totally unrealistic. Just the technology of lighting for a performance, has made so much difference to the emotive power of what is sought to be presented by the dancer through movement. The only problem lies in the need for realization of how much is enough to aid the performer, without over powering the dance itself. Arvinth Kumaraswamy, very rightly stressed that any technology should be used as a necessity and not as a convenience replacing the dance. Working with the recorded material of music with fifty violas, showing scenes like Vali Vadham, Hanuman flying across the oceans carrying the Mountain with the herbal plant to revive injured Lakshmana, showing  Vishwa Roopam  –technology comes to the help by catching a feel of  these larger- than -life actions –in a way of augmenting Reality by being able to aid suspension of disbelief in showing the bizarre – which the artist cannot produce through his art. Merce Cunningham as early as the early nineties used Artificial Intelligence in his creations. Can there be a communication between the rhythmic and Alga rhythmic?

Gaurav Singh Nijjer maintained that technology being a reality, there is need for accepting the fact that we live in a different world today. We have moved from the proscenium stage to looking at things while even lying in bed. Sound comes to you from three sides in a Kafkaesque fictional fashion. Body, speech, intelligence are challenged by AI

   Prachi Saathi said that in her work When Walls Dance, where Bharatanayam, Warli art and animation come together,  at no stage are visuals and Dance at war with each other. She spoke of working with her collaborator. Our dance forms depend on manodharma and AI at a point has its own manodharma. As W.B. Yeats said ‘This is not a country for old men’.

  Talking of the multi- dimensional and multi directional nature of productions today, Madhu Natraj spoke of how intelligent lighting which can be programmed, and using Digital scenery and set designs had changed static backdrops, enabling an added visual richness. The fear of whether Artificial Intelligence will play rogue may be there – but Dance has opened out to the interesting possibilities of collaborative expression.

     OORTHA: The Intangible benefits of Natya

Padmini Ravi spoke on the tat twam asi  and Ahambrahmasmi concepts -which cannot be described but only experienced . Whether one realizes this Oneness through the Gyana Marg, the Bhakti Marg or the Karma Marg, Indra told Brahma that he wanted something more than the Vedas to attain this state of pure awareness, and this was what led to the creation of the Natya Veda. Here through the body, one has to attain a state- of -being, which makes one forget the body. In a state where we are still a war, can the dancer in the state of flow, forget the body - with thoughts entering, in a space of relaxed emptiness, making you visualize the character of Draupadi for instance. Dance is one art where one can forget oneself and enter an imagined world, connecting one with that which one can never perceive in real life. ‘Which is why I dance’ ,she maintained. Padmini Ravi who is ‘pursing her PhD in the Intangible experiences of the Tangible craft of Dance’ is the right choice to speak on the subject of Amoortha -and what is more, she has a sense of humour, which enables one to push the I-ness, beneath, what one is seeking.

CHITRARANGA- DANCE ANDMUSIC IN POPULAR MEDIA /MOVIES

BY Rajiv Menon

 As a connoisseur of classical arts, a reputed cinematographer, known for his entrepreneurial skills, Rajiv Menon touched on several aspects starting with how Sahitya and dialogue in different languages could divide people, while arts like Music and Dance could forge people together and it has, over the years, through its ability for connecting led to a feeling of Pan cultural South Indian identity. With more people moving to the cities the emergence of the Sabhas promoting the arts was a very important step with the musical theatre of artistes - with classical singers  like M.K.Tyagaraja Bhagavatar (famous M.K.T) and S.G.Kittappa who in the 1930s and 40s began emerging as great matinee idols. Then came Papanasam Sivan as a composer for film music. Cinema had GNB (G.N Balasubramaniam) a fine classical singer. With M.S.Subbalakshmi the nightingale’s singing in the 1940’s   came a very significant chapter in Music  and the Film-  with Msic making becoming the most influential part of film making in the South.

Language created some divisions – like Gangubai Hangal moving on to Hindustani music and films. Uday Shankar’s film Kalpana screened in 1948 marked a high point in art and film making – marking a transition from the Raj era to a new era of a Nation State. Art was for the first time seen as a political and social commentary. That was also the year when the great Dance film Chandralekha was made. Then came Bharatiyar songs forging a feel of national identity, used to advantage in films.

  As song and dance became a very important part of film making , sringar became as important as War films like Border. Voices singing into microphones became much sought after- names like Lata Mangeshkar and Mohammad Rafi and Talat Mahmood .    being replaced more and more by the Tabla. Dance became a very important part of films with stars like Vyjayantimala Bali and Padmini. Even Tamil songs began to copy Hindi song tunes. Hollywood began to influence Indian Cinema and what with Hats and Coats, one felt that Indian Cinema was becoming too plagiaristic. A.I.R played a very major role as one organization keeping the Classical music flag flying high even as Western Music Conductors and Ilayaraja’s music became a part of Cinema. The exception was  Sanjay Leela Bansali  with his typically Indian themes.

AASHU : IMPROVISATIONS IN ABHINAYA

Being so tied to rehearsed fare, suiting time specific dance programmes, in the prevailing performance scene, how savvy is the Indian dancer, when called upon for on-the-spot improvisations? A daring experiment, the four chosen dancers Indira Kadambi (Bharatanatyam), Dr.Sreedhara Akkihebbalu, Dr.Shobha Shashikumar and Sujatha Sreenivasan, each given two specified hand gestures, on the whole acquitted themselves creditably- showing they were no push-overs, being more than equal to the task in hand. That the musicians could chime in with appropriate ragas to highlight the emotive tone of the episode selected by the dancer, was another plus point. For instance for a  Gange Gowri vivada, by Indira Kadambi, full of near lokadharmi humour, Parvati’s complaint played to Gaurimanohari, with Shiva’s answers set to Shivaranjani seemed very fitting, with the hasya rasa reaching, extreme levels. Dr.Shobha Shashikumar chose the Krishna Tulabharam episode- where Satyabhama, in a bid to win back Krishna, places all her jewellery to equal Krishna’s weight , but finds the scale unbudging – whereas one Tulsi (Basil) leaf from Rukmini is enough to balance the scale. One does not know if the dancer meant it, but one felt a Bharatanatyam (Rukmini), Kuchipudi movement change from Rukmni to Satyabhama.

    Sreedhara Akkihebbalu  evocatively presented the Paduka scene in the forest , taking on the role of Bharata, remaining ever faithful, till Rama returns to Ayodhya to be crowned King.

In the second round Indira Kadambi asked to work with hastas Pataka and Katakamukha, given the freedom to use any viniyog, Pauranic or Modern, convincingly portrayed the sky, clouds, rain and for the third round ,  all joined in to weave a narrative of a class with instrument playing and what have you.

Shobha Shashikumar asked to weave a scene given the hastas Shikhara and Sarpashirsha, showed a scene of the kundalini shakti, being sought to be roused.

Asked to work with hastas Mushti and Hamsasya,in his second round Sreedhar Akki Hebbalu portrayed a sensitive sringar scene with the hastas, convenient for bringing out Masculinity and Femininity.

In the case of Sujatha Srinivasan who lives abroad, while I found the episode of Hidimbi losing her heart to Bhima and ending up marrying him, needing more conviction, Sujatha’s next round built round the hastas Tripataka and Mrigasheersha   was interesting – showing a woman looking into the mirror and beautifying herself-all done to welcome the lover- emerging from her room in all her finery to dazzle the man, only to find that he has left!

LAVANI SRINGARA IN DESHI THEATRE

It was a bold unvarnished Deshi Srinagar presentation for the 42nd Natya Kala Conference, with a performance of  Lavani under Bhushan Korgaonkar, who has worked extensively with Lavani artistes, also having written several songs for performance. Supposed to have had its start in the Prakrit Gathas collected by Hala, and Nirguna Music all over Malwa, which comes from Lavanya, meaning beautiful, Lavani as presented to-day in Maharashtra, developed in the 19th and 2oth centuries - as a form of entertainment for the Peshwas and Maratha Kings. Generally performed by Dhangads of the Shepherd community (nomadic tribes of the vimukta jati living in Maharashtra,in Northern Karnataka and Madhya Pradesh,and Andhra Pradesh ) in Sholapur,  Lavani in its unadulterated form is pungent with social/political satire, its no- holds- barred,  naughty sringar songs and dance, rendered to the Dholki rhythm. Mujra entertainment entirely for men, the performers are dressed in nine yard sarees called Lugade saree , worn kachha fashion . Sangeet Bari Lavani follows the Matriarchal system with women heading families.

    There is Khadi Lavani and there is Baitakichi Lavani , the latter performed in the seated position, meant for very intimate spaces. Gowri Jadhav presented Khadi Lavani, while Pushpa Sakarkar presented Bhaitakichi Lavani. Zorwa Takkar presented an item saying “Don’t hold my wrist- my bangles will break (strong expression of woman power).

CHALANA ; MOVE WITH CHHAU

Shashadhar Acharya , a fifth generation artist of Seraikella Chhau, in a short session informed the audience on how Chhau movements with the upward thrust and spiral movements stemming from the martial arts, make the dancer’s relation to space  very different from the earth bound gravity of other dance forms. Along with this, the particularity of Seraikella Chhau is that it is performed with  masks- which  influence and tailor body movement to a large extent. So abhinaya, involving the face, is taken over by the mask which has only sthai Bhava. In 1938, it was Vijay Pratap Singh who went abroad and changed the idea of  Teaching methodologies – keeping  these mentioned facts in mind. Presenting just a couple of characters Shashadhar, also sought to underline the fact of how mask making - an art in itself- helped in bringing out a character. Sanchari comes through movement. Inner thought brings out movement. Characters central to this form like Chandrabhaga, Ratri were presented. Sashadhar Acharya the artiste has recently published a couple of volumes for the SNA library on Seraikella Chhau . Such a detailed history on this form of Chhau, has never ever been attempted, and must have entailed a great deal of work and study.

SAMANVAYA

Confluence of Kathak and Bharatanatyam in Marga by Mahati Kannan, student of  Padma Subrahmanyam and Rohini Srinivasa Prabhath, who ,after 24 years of training under Nirupama and Rajendra at Bangalore’s Abhinaya Arts Centre, has been part of an intense training program in the U.K. under Guru Padmabhushan, Kumudini Lakhia on special aspects of Kathak, proved to be an interesting session – notwithstanding the fact that for two varied classical forms to share the stage, is by no means an infrequent happening in today’s performance scenario. What stood out was how intelligently the two youngsters harnessed a style like Bharatanatyam woven with Karanas from the Natya Sastra, and Kathak with its footwork and chakkars, evolving in the Northern parts of India, in a total picture of contrasts in body silhouette, complementing each other. Both dancers, apart from the stillness in frozen moments, and coming together in footwork virtuosity also exploited body levels in the two styles to good effect. For highlighting their skill in interpretative work, the two dancers chose a Ninda Stuti by PurandharaDasa – wherein Lakshmi and Parvati enter into a heated argument, each making fun of the other’s husband. Parvati pokes fun at the Dashavatar of Vishnu taking on ridiculous manifestations of fish, and turtle and boar, while Lakshmi ridiculed Parvati’s husband for living in Crematoriums with Bhoot, Pret and what have you. She laughed at Shiva’s ash-covered body and  his matted locks with a snake as his necklace! As for Vahanas, Kalki has his horse while Shiva has his Vahana the Vrishabha. Mahati was Lakshmi to Rohini’s Parvati. The two dancers showed a confidence and feel for composing far beyond what was expected of still untried choreographers.

DHARMA AND ARTHA OF NATYA – PANEL DISCUSSION

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Dharma (Sustainability, Ethics ,Goodness ) and Artha (wealth, Resources, Tools) of Theatre, are indisputably aspects which determine, durability and health of the Arts in any country. A Panel discussion on these aspects comprised Anupama Hoskere the master Puppeteer and a Padmashri awardee, who is the Founder Director of Dhaatu Center for Sharing , Bangalore and currently on the Kalakshetra Board, Piali Ray, based in Birmingham - a choreographer , dancer and Founder Director of Sampad Arts, one of the leading agencies for the promotion of arts of the Indian Subcontinent, and Sunil Sunkara, a Nritya Nipun from Bhatkhande University with a masters degree in Kathak,  and Academic Head of the World Forum for Art and Culture- courtesy aegis of Sri Ravi Shankar, and  last but not the least, Akhila Krishnamurthy - a freelance writer and founder of Aalaap, the collaborators in this festival. While Dharma and Artha are universal concepts and would apply to the Arts of any part of the world, as Piyali Ray pointed out, how one defined these words would be different in the western outlook. Artists are the cornerstone of a society and they are the people who can bring about a change in mindsets, helping create positivity in society –leading to an awareness in people. This writer feels that but for the Sabha system, still flourishing, the art scene, even in the South would be faltering..

The art vehicle used would be, obviously, the story or the situation expressed in the Arts.

There are misconceptions everywhere and one has to battle on in spite of them. Piyali Ray remembered, with a sense of satisfaction,  on how a group of Indian women in Sarees had marched and stormed into the Ministry in London, to bring in  the realization amongst art managers that India’s Dance forms had to be recognized for their sophistication  as part of Classical arts like Ballet.

     Writers and Art Managers in India too had to be more savvy and knowledgeable about how to introduce and discuss our arts and voice its concerns in a manner upholding the dignity of the art form. For example Ched/Chad is not Eve teasing!  Coming from a huge knowledge system of an ancient culture, Indian Art representatives have to be the right, deserving people .

   Arts need to be sustained, and for this one needs benefactors. For instance in Chennai, it is a small group of do-gooders who sustain the marghazhi Festival, which but for this munificence find survival tough. Corporate responsibility which has not been strong enough, can only come from constant dialogue with the government and is arts policy.  

   Every person on the panel spoke for the need of a National policy for Arts. Governments always stint when it comes to allotting money for the Arts. By bringing people together, creating positive vibes and by providing relaxation from the cares that beset bread earners, Artists are contributing to society and they should be respected for what they are doing. There is no insurance scheme for aging artists who need help. The importance of selecting proper Art Managers cannot be minimized – particularly for manning the Akademis.

    VIKAASA – THE FLOWERING TREE

By Hema Rajagopalan

 This production, Vikaasa- which means blossoming is inspired by a Kannada folk tale about a woman who discovers the unique ability to transform into a flowering tree, using this as a means of sustaining her family. This becomes in course of time, an inspiration for transforming all those who insensitively exploit Nature. This tale underlines woman’s closeness to Nature and also her innate feel for ecological harmony. Hema Rajagopalan the choreographer who is Founder Director of Natya Dance Theatre founded in 1975 in Chicago as an institution for teaching Bharatanatyam, in an excerpt from what is a long folktale, has created really  arresting group work, where both choreography and group discipline are of a very high nature. After the spell binding half hour, in a tete a tete with the dancer, I was surprised to hear her wanting to know in very hesitant tones, if I felt the work did justice to what she was trying to underline as an ecological theme. “I am never sure of how successful I have been in bringing out what I want to!” she quietly confessed. Such modesty in one with years of experience and success, is rare indeed!

How could the Curators for this edition of the Natya Kala Conference end without a session inspired by Kannada Literature? Kavya Abhinaya based on exclusive Kannada compositions featured Rakesh K.P., Rupesh K.C., Sharath Prabath and Washim Raja.

Rakesh presented abhinaya to music sung by Srikanth in Raga Abheri built round the pangs of a Proshita Bhartrka. The Nayak in a state of worry  (chintachakit) wonders about  the kind of Maanasa Vedana  the wife in viniyoga, would be undergoing. The music voicing the emotive situation, for this critic, stole the thunder, while the interpretative communication was fair.

 Rupesh Kesi presenting a P.V.Gundappa composition, in praise of the deity and sculptural elegance  of the  Belur Chennakeshavaiyya temple, with base sculpture full of carved elephants, swans and peacocks and the body of the temple full of Madanikas and Shalabhanjikas,  exults through an antahpuragita (Praveen D.Rao’s music) on Rasa Lila ,emphasing the sringara bhava of the God with a beautiful Lakshmi .The trouble was that the presentation by the dancer was supplemented by so many slides that it became a clear case of overkill with the Dance reduced to an also ran.

 Washim Raja who after years of training in Gaudiya Nritya (the classical dance of Bengal) in 2018, coming under the training of Kuchipudi Guru Vanashree Rao, seems to have discovered his medium of expression. A powerful and utterly absorbing artiste to watch, he is a discovery for the Kuchipudi Dance, which has not of late had too many male dancers of repute. Vanashree’s choice of the well known composition Jagadodharana in Kapi, presented in her choreography, which is always full of ideas – has inserted passages  constantly playing up two contrasting images – one, the wonder of the Creator of the World (jagat udharaka ), also being the adored child,(magganendu  tiliyuta) whose deeds, hold foster mother Yashodha in enthralled joy. To words ‘Parama Purusha’ the dancer briefly hints at the ten avataras. Washim as a male dancer, takes on both male and female references in the stride. With his clean movement profile, ability to emote powerfully losing himself in the dance , he is a fine find for Kuchipudi. And a feather in Vanashree’s cap!

The dancer, should in the normal course, find a berth in the bigger festivals.

     BHAKTI VILLU PATTU by Bharathi Tirumagan

    Buddhism preached long ago, about letting go of desire as the first step to becoming a realized soul. Tiruvalluvar in Turukural said that the way to let go of Desires, was to desire the Supreme Being who is free of Desire. Clinging to this wisdom is Bhakti, and it is this wisdom which is contained in the tantanatom (meaning basically Tannai ttandom) in the opening lines of Villu Pattu.  I must admit that this wisdom, till told by Bharathi, was unknown to me. The birth of Villu Pattu is pinned on the incident of a King out on a hunt, coming to the sudden realization that the animals which are prey to his hunt, will never rise again – which makes him put down his weapons, deciding that the positive feelings of Bhakti, is a more humane way of bringing the world together.  The Villu Pattu , had a vibrant quality. As a finale, the story of Punyakoti the cow and Arbhuta the Tiger, was presented by a dancer, a student of Rajendra Gangani who combines with his Kathak knowhow, a love for the art of Harikatha. The hungry tiger waiting to spring on the cow is requested by the latter that since he  has to make arrangements for feeding his calf at home, he may be permitted to go and do t he needful – after which he will submit himself as the tiger’s prey. The cow is allowed to go and true to her word, she returns to become the Tier’s prey. The problem was that story narration with the dance was not clear –  the well meaning  attempt  needed better technology coordination.

Altogether a Mahabharatha of a Natya Kala Conference! Spread over two more days, the mental fatigue and physical strain would have been less.