Bigger stages larger scale

At a time when group choreographies are preferred over solo performances, it is up to the dancers to devise a way to retain the purity and sensibilities of the classical dance form

It does not acknowledge borders in the same way as many other arts. Even when certain styles limit the work within a frame, the movement of life, choreography and the need for flux takeover very quickly allowing certain styles to mingle with the other,” says noted dancer Anita Ratnam in her magazine “Narthaki “.

The International dance day celebrated on April 29th birthday of Jean-Georges Noverre, revered as the father of modern ballet celebrates dance, revels in its universality and seeks to unite people of the world through the common language of dance as Anita defines it.

“Yatho bhavah, thatho rasah” (where there is emotion, one experiences the essence) is what dance provides as coordinated hand and foot movements, expression, rhythm and music transport viewers from the mundane to the sublime.

Indian classical dance referred to as the panchama veda or the fifth veda has a hoary tradition derived from the Sanskrit text the Natya shastra and seeks to maintain purity of tradition through generations.

The word classical implies adhering to standards of exemplary value within a defined form or style that characterize it. The dancer masters the basics and expresses the art in his or her own unique style bringing out nuances without destroying purity so that each dance style maintains its distinct identity.

Traditionally performed “solo classical dances” had a single dancer on stage immersed in the flow of music who was the cynosure of all eyes. Today group choreography has become a new way to showcase classical dance.

There are a group of rasikas (lovers of art) who object to the word “solo” even where there is a single dancer on stage stating that it is unfair to the musicians and accompanying artistes like the mridangam, flute and nattuvangam, who then become invisible and without whom no dance can be performed.

A riveting performance by a “solo” dancer requires a lot of dedication, hard work and expertise but receives accolades from discerning audiences in the smaller sabhas or gatherings. Huge events hosted by corporate houses, state functions and festivals are increasingly asking for group performances and this phenomenon is not limited to Hyderabad alone according to well known dancer Deepika Reddy, who states that the International Council of Cultural Relations (ICCR) too is preferring this option while approaching dancers.

“Huge stages are erected at International festivals where a single dancer will look insignificant and fail to make an impact. The stage becomes vibrant and colourful when there are many dancers, who can engage the attention of viewers.

Ideally, I mix my shows with a combination of solo performances and group ballets like my shows in France where I gave a few solo performances by reducing the stage size with the lighting. Group dances are choreographed driven by the scale of the function without compromising on the purity of the dance form” she adds.

20 dancers with five dancers each performing Bharatanatyam, Kuchipudi, Mohiniattam and Kathak with the theme “Namaskar India” bring out the underlying unity of the theme and the rich diversity of each style in a ballet that Deepika performed with her students at the OU centenary celebrations.

“The language and idiom of the dance have to be mastered and interpreted to convey the essence of the form and every classical form has its own allure” she adds.

The desire to innovate and be creative has resulted in many varieties of fusion too and we have European folk lore becoming a part of Bharatanatyam, flamenco steps in Kathak and social adaptations with a mix of styles by exponents of fusion.

The young and articulate Yamini Reddy, an exponent of the Kuchipudi style has however a word of caution for people going to extreme lengths in the name of creativity. “We are not entertainers pandering to the tastes of the audience. We are upholders of a great classical tradition, we are philosophers, educators and instruments that convey an art perfected over thousands of years.

To say that one has evolved something new or set a new trend with two or three years of research would be incorrect since it involves a whole life time of work, dedication and research. Dance is not something that you just do with the body.

It is also the mind and the heart and diluting a revered body of work is not acceptable” she says. Yamini feels that dance is like a language where you learn the basic rules of grammar and idiom with which you write articles in your own style without breaking the rules.

Like many other dancers she too performs both solo and group dances but agrees that the demands of huge shows mean that more people have to be up there on the stage. Many festivals have a 70 to 80 feet stage and only a big group can be seen adding vibrancy and energy to the performance according to her.

Modern technology and a world without barriers have resulted in changes in interpretation and technique and more importantly the scale of events. As the stage gets bigger, the number of dancers grows too and sharing the stage is something that artistes will learn to adapt to when the spotlight shifts from one to many.

As always the ‘purists’ and the freethinkers who stray from tradition will co-exist but as Yamini Reddy puts it “ The classical dance tradition of India is like a flowing river, where the old water flows out and the new gets in but the river continues to flow steady as long as it remains within its banks”.