Responses
to
Practical
challenges of Indian classical dances in USA and the role of Hindu temples
by Prasanna Kasthuri
October 21,
2009
Prasanna Kasthuri's
article raises some important questions.
1. If indeed
his "main goal was to spread the traditional art" why didn't he open a
Bharatanatyam school in Lahore or in Kinshasa - instead of in St.Louis
where "most of the dance teachers still continue living on meager income"
funded by grants from Regional Arts Commission of Greater St. Louis and
Missouri Arts Council? Were most medieval devadasis millionaires?
2. Considering
that 15.8 million Americans spend $5.7 billion a year on yoga-related activities,
how successful economically was his "workshop dealing with hatha yoga,
breathing and meditation combined with dance movements"?
3. If the
NRI doctors, business analysts and engineers are required to have a proof
of their professional qualifications before they move to the USA, are the
Hindu priests and Bharatanatyam dancers too? Are the Bharatanatyam dancers
required to be qualified for dancing just as the former devadasis were
required a pass in 64 subjects? Does getting a rank in Vidwath exam imply
one can handle the 22 sruti system?
4. Has Prasanna
Kasthuri tried to convince any Iranian person that the traditional dance
of Kathak is traditional Indian dance? If Japanese could be proud
of Kabuki and Chinese can be proud of their classical music, why are the
Indians not having the same enthusiasm exploring the ashtottara sata talam
system?
5. How exactly
are the traditional saxophone and the Italian violin concerts related to
a goal to spread the traditional (Persian?) art? Why should the Indians
be so enthusiastic promoting the Iranian or Italian culture?
6. How essential
was "a meeting of Kathak and Tap" for "upholding the spiritual values of
great Indian traditions"?
7. Is any
art sacred and any artiste a saint? What is the difference between religious
values and spiritual values?
8. If "our"
(whose?) "dance forms" failed to "get more limelight than what it had previously",
why do some Bharatanatyam videos on YouTube get 1000 views a day, while
others only 1 view a day? Are the times of Swarnamukhi's popularity over
as the classical dancers can't sit in aramandi, control their eye-lashes
or perform Gangaavatarana?
9. As for
the "onslaught of heavy media works such as television and movies," don't
you think the film directors would be bankrupt if their actors were as
unprofessional (e.g. in satvika and vachika abhinaya) and had as captivating
figures and as fascinating faces as the majority of "professional" Bharatanatyam
dancers most of whom can't even apply make-up properly?
10. What is
the purpose of dancing Bharatanatyam 24 or even 60 hours non-stop? Would
you trade one good banana for 50 rotten apples?
11. Are "the
classical dances fading slowly" because currently 2 out of 5 NRI girls
in the USA undergo some training in classical Indian dance? How can we
stop them from attempting to learn Bharatanatyam?
12. Are some
NRI dancers' careers "fading slowly" because their "traditional" dance
themes focus on praising the maharajas and merchants of the 18th century?
13. If Prasanna
Kasthuri has less knowledge of philosophical and spiritual interpretations
of the dance themes, is he planning to expand his knowledge by studying
the Vedas in the original and achieving some spiritual qualification and
siddhis?
14. If "most
working class youngsters are seen spending time in front of television
channels, rather than going out and enjoying a live classical performance,"
is it partly for the reasons outlined by Mukundagiri Sadagopan in http://www.kutcheribuzz.com/news/20080320/indiandance.asp
? Or is it because - according to the Kollywood film directors as well
as Bharata Muni - the youngsters are attracted to Sringara which was eliminated
in Bharatanatyam by Rukmini Devi?
15. If there
is "less exposure of classical dance forms in these mass media in India
and USA," isn't it a sign that now it is high time the dancers should stop
promoting themselves (or their associates) and start promoting the dance?
16. If they
"avoid any classical performances" because "it is not a crowd puller,"
isn't it proof that Bharatanatyam is meant for small audiences when the
rasikas can see the dancer’s mukhaja abhinaya?
17. How do
the "local dance teachers work very hard to bring in the professionalism
in the community"? What kind of "professionalism"?
18. If "most
teachers struggle to create awareness of their relationship with a performing
art such Bharatanatyam," doesn't it mean that people find it hard to understand
which traditional Bharatanatyam style these teachers teach after learning
the Mysore style from Dr. K. Venkatalakshamma and Lalita Srinivasan, the
Pandanallur style from guru Narmada, and after the Gurukula workshops of
Chitra Vishweswaran, T Mahalingam Pillai, Adyar K Lakshmanan and Pandanallur
Gopala Krishna?
19. Is "teaching
dance to an NRI kid very hard" partly because the classes are an hour a
week?
20. If "the
coverage for performing arts either in an American newspaper or on any
television or in a National dance festival such as American Dance Festival
is too less," does it mean it is time to bring to the USA some really talented
dancers from India?
21. If "the
barrier of culture and race still hogs these areas," doesn't it mean that
the desi forms are limited, and the dancers should finally think of exploring
the margi?
22. If "there
are no international art critics in major newspapers across American cities,"
isn't it a proof that Bharatanatyam is not an international dance form
but an Indian art?
23. If "the
entertainment section of newspapers such as Times of India filled with
American icons," is it because there are too few professional photographers
in India?
24. Is it
indeed Gurukula when you just visit your teacher's house for a class twice
a week?
25. Do "most
of the dance teachers still continue living on meager income, just because
of the "bhakti" or because they are unwilling or incapable to go and get
a proper full time job at a factory or on a farm?
26. If there
are "so many artists in our area, who can do marvelous productions," who
else - apart from these artists - thinks so too?
27. If "our
music and dance, whether it is north or south, are driven by bhakti," why
has Lord Almighty been so unwilling to notice the marvelous productions
in the USA and support the dancers financially?
28. If "one
cannot see a Kathak performance without a Hindu deity being prayed to,"
is it proof that the Hindu deities came to like the Persian folk dances
and Arab music, as well as Michael Jackson's performances?
29. Why would
the Hindu temples in the USA arrange for Kathak dance festivals if it contradicts
the Hindu tradition, according to which only margi dance should be performed
in the temple premises?
Ashwini Shankar
October 25,
2009
I am very happy
that my article made Ashwini think this much. My job is done. But
Ashwini’s understanding of reality is very bleak.
What I have
written is the story of many people like me. By looking at the responses
of Ashwini Shankar, I am concluding she has no idea what happens in real
life in USA.
When it comes
to understanding of traditional art forms, we still have work just like
we need to work in Lahore or Kinshasa, except that we live in a free country,
where we can exercise our rights. Just to let you know, I did come
as a qualified person to USA and not on the back of a truck. I do have
a Vidwath rank. Most of my Bharatanatyam education was done by two great
teachers – Lalitha Srinivasan and Narmada. My Kathak was taught by Dr.
Maya Rao. I respect them forever. Ashwini has such a discontent with
learning. Pretty embarrassing for any progressive student.
The main point
of my article was to suggest temples should extend their patronage to traditional
dance forms, apart from routine religious works. This has to be done atleast
for the religious aspect of traditional dances.
Tradition will
be built by innovation. In our times, we are doing what others did previously.
We have been exposed to so many varieties of dance. Hence all the collaborations.
I am very happy I am doing this. This is where everyone will be headed
if there are no openings for traditional base. This means, as a classical
dancer, we will have less opportunity to perform any dances related to
Hindu religion.
It appears
that Ashwini has a good knowledge of dancing, but unfortunately she does
not care about other artistes' ability and achievement. Pretty sad.
This is my
message for her. Get real.
Please do come
to St. Louis and join Soorya Performing Arts as a member. It is an open
public organization. We are looking for brave people like Ashwini to come
and do some volunteer work without getting paid (like I do, as I work close
to 30 – 35 hours a week, with no compensation).
Prasanna Kasthuri
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