March 2014
“What
a lovely performance you gave us after all your NAT-KHAT stuff!” That
was the first comment from a senior critic in New Delhi minutes after
the completion of my NEELAM performance while I was surrounded by old
and new friends on stage. How odd and predictable I thought! How easy to
place me in a conveniently pretty package – classical OR modern – and tie
up the assumptions with a neat ribbon. Was NEELAM supposed to be
my ‘Samatthu Ponnu’ (good girl) avatar, a temporary return to ‘sanity’
after my rebellious ‘nat-khat’ /mischievous outings through ADHIROHANA,
MA3KA, A MILLION SITA’s , SUVADU, NAACHIYAAR, DAUGHTERS OF THE OCEAN,
VAITHARANI, FACES, SEVEN GRACES, UN-EARTH and other adventures? How does
ONE presentation with familiar accents and beloved music suddenly
anoint or co-opt me into the familiar fold of the classical? NEELAM was
and is, for me, a deeply personal work. As I said in my closing remarks
after the performance to the warm and appreciative Delhi audience, it
was a convergence of my many decades of observing and attending hours of
prayer, music lessons, pujas, walking in the long quiet corridors of
Vishnu shrines of South India and observing the elaborate rituals in
prayer and celebrations. The 60 minute work was taking shape all through
my life as a personal diary. The 25th show which occurred in Delhi was
as fresh for me as the very first in 2006 on the occasion of legendary
singer MS Subbalakshmi’s birth anniversary. 8 years later, NEELAM
continues to be my personal touchstone, like a comforting return to my
mother’s home, my head resting on her lap. To even suggest that I have
somehow erred, strayed and like a prodigal daughter, have returned home
would be very far from the truth. Life, like art, is a spiral but it is
constantly moving, with its vortex always changing and shifting centre.
NEELAM’s gorgeously costumed silhouettes and lush visual design was
conceived as crucial aspects in the entire immersion experience.
Choreography and music became co-players in the lustrous quilting of
collaborative ideas. The bold new costumes as conceived by Rex continue
to challenge me in terms of choreography – what works in rehearsals will
still need to be tempered with the costume silhouettes so different
from the casual rehearsal outfits. However, NEELAM will be an evergreen
presence in my life and repertoire, but my adventure, curiosity and
questions continue.
“Being punctual has its problems. There is nobody around to appreciate it.” Anonymous quote on T -shirt.
Being a meticulous producer, who demands much from herself as from my
team, I was very frustrated during my recent experiences in Delhi and
earlier in the month, in Baroda. I am fastidious about punctuality,
knowing all along that very few around me are. Lazy tech staff (I refuse
to call them lighting designers. They are merely vendors in disguise),
crew dressed in gaudy striped shirts arrived late and were patching
lights even up to the time the audience walked in, leaving me with no
chance for lighting and sound cues. Of course I performed, drawing on
the strength of experience and belief in the work. This is what carries
me through more times than I would like to confess in India. No matter
how high the rentals are for some auditoriums, the carpets and green
room facilities leave much to be desired. Presenters and producers MUST
pay attention to the emotional and psychological health of the invited
artistes on the day of the performance. Leaving them calm and focused
should be one of the top points in their TO DO sheet. In one city,
I was actually prevented from entering my own green room because the
PYT (pretty young things) students were busy dressing up to pose for
selfies and other photo ops outside! Ah well…Yeh Hai India Meri Jaan
cannot be an endless excuse for a ‘chalta hai’ mind set. Yet as
performers, we continue to do what we do but the bar MUST be raised if
we are to even begin a professional discourse about dance.
Still, NEELAM was an opportunity to celebrate 20 years of design
collaboration with Sandhya Raman, who launched her Desmania Foundation
initiative with the performance. I still have her very first costume she
made for me in 1995. I have never worn it in performance. I am
convinced she did not know the difference between Kathak and
Bharatanatyam when she was creating it. Long, flowing in flame orange,
it was a stunning party outfit, suited for Holi or Basant festival
celebrations and not for the ‘araimandi’ and stretches of BN. Over 2
decades, many of you have seen me photographed in several of Sandhya’s
designs, both on and off the stage. Each have been unique and dreamed up
solely for me - my height and long arms and legs. They still occupy
pride of place and will soon find themselves in a more permanent place
if our mutual plans take shape. Thank you, Sandhya, for the friendship
and the creative juices that continue to flow.
NEELAM also reminded me about the changing contours of my own body.
Looking at photos taken during its premiere 8 years ago, when I was 10
pounds heavier, to the present set of images, I am struck about how my
body shape has changed… and not necessarily for the better. Costumes add
unflattering pounds to our physique – unfair but true! The female
dancing body has so much to experience and time takes its toll. A
salute to all those amazing women who have remained so slender and
wonderful with or without babies, marriages, lovers, families and other
distractions. And a stern note to self – Get with the programme! You
have to LOOK like a dancer to call yourself one!
My visit to the MS University of Baroda (Vadodara now) was very
eventful. It is a centre of learning and erudition much lauded across
India for over a century and the magnificent buildings attest to the
vision and hope of its brilliant founder, Maharaja Sayajirao Gaekwad
III. However, there is a state of decay that lingers everywhere, like a
beloved family elder who is slowly withering. While everyone from the
auto driver to the chaiwallah and others were optimistic about their man
– Narendra Modi – marching to Delhi soon, the streets and buildings did
not reflect a state that boasts progress. Or perhaps education is not
the priority of any politician for the moment. On the day I performed,
Dr. Parul Shah, long time Bharatanatyam performer, scholar and teacher
and HOD of the Dance Department, retired. Two days were set aside for
Geeta Chandran and myself to talk to the faculty and staff during the
day and perform for the city audiences in the evening. Good crowds and
warm appreciation were heartening for us and I observed the students
riveted by Geeta’s magnificent singing and clear ideas about dance and
its attendant challenges. Finding them a bit overwhelmed, I suggested a
movement session where I conveyed a single idea for them to develop.
What I was seeking was to somehow remove, if only temporarily, a patina
of confusion that their faces carried. Somehow, every Bharatanatyam
student wants to perform in Chennai and do the annual Sivaratri
Natyanjali circuit. There are now too many dancers and too few
opportunities. Teachers and students must think differently, creating
venues and opportunities that do not converge on Chennai, the December
season and the inevitable corruption that has seeped into the ‘mecca’,
‘vaikuntam’, ‘kailasam’ of Bharatanatyam.
In every city I travel, there is always an attempt to meet and interact
with visual artistes and designers from that area. Baroda has long been a
magnet for painters and textile researchers. It was with delight that I
met some wonderful people who showed me shades of the gracious city and
treated me to some amazing Gujarati food – one of my favourite
cuisines! And each time, I return with an overstuffed suitcase of
textiles, fabrics and clothes to remind me of my visits. Oddly, many
performances do not stay in my memory, but a coaster, a hand towel, a
bedspread, a mug or container will resonate with the fragrance and image
of that particular city. I now have a personal TRINKET TREE – a wooden
testament to my many travels with the branches holding various bangles,
necklaces, scarves and other memorabilia from around India and the
world.
Politics is in the air. New Delhi is at the vortex of huge change and
the artistic community is breathing that shift. Already I can sense many
culture vultures beginning to change alliances, waiting for the
national elections and hoping it will bring new formulas for funding and
opportunities. Whispers were floating all around me about which dancer
is close to which politician. When I objected to one woman who was
videotaping my performance from her smart phone, I was told to ‘shush
up’ since she was very close to the corridors of power. For those of us,
who live far away from the capital, the truth is that whoever assumes
control of the Parliament, little may change for struggling, talented
and emerging artistes. It is with this in mind that I addressed a group
of young professional dancers in Madras, all in their mid careers, and
all wanting to make it to the next level. I spoke about the need to
become more tech savvy, to create good YOU TUBE worthy short viewing
links, about basic lighting and spatial techniques, of working with a
third eye mentor or a choreographer. Of making a crucial decision of
being a performer or a teacher and also the sacrifices that the family
will need to make for their careers as performers. That being a good
guru and a good dancer are two very different avatars. While there were
many smiles and nods in the audience, I doubt that dramatic shifts will
be made.
February was the month that celebrated the birthdays of Rukmini Devi,
Pondicherry’s Mother and Mahasivaratri. The final week was a magical
convergence of planetary energies and celebrations in Tamilnadu through
talks, discussions, celebrations, festivals, carnivals and performances.
I have travelled the Natyanjali performance circuit through the many
Siva temple towns on several occasions. I will strongly recommend it to
every dancer to travel this route once in their career. And once is
enough. It is a tiring and draining tour, with no money and below par
facilities in most places. But the thrill of visiting these fantastic
spaces and to gaze at the wonderful sculptures and large audiences is
worth the hardships. I still remember going to Chidambaram in
1990, the year I returned to dance after a 12 year hiatus in the USA. I
did not perform at the annual festival, but stood opposite the majestic
reclining Vishnu Govindarajan and sang and danced “Tillai
Amabala-taanai, Govindarajanai.” Dressed in my red and mustard practice
sari, it was my way of seeking HIS blessing before I returned to dance.
The Siva (Chidambara rahasyam) that is placed adjacently to the Vishnu
is not visible but this iconic song composed by Gopala Krishna Bharati
is a favourite of many singers and dancers. Last year, I was performing
alongside Sadguru Jaggi Vasudev on the night of Mahasivaratri at the
magnificent ISHA centre in Coimbatore but this year family
responsibilities demanded my presence at my niece’s wedding in Delhi. On
the night of Mahasivaratri, amidst the hundred plus wedding guests, I
was distracted, my mind reeling back to the scenes of amazing energy, of
the music and dance that swirled around me on many previous Sivaratris
while I travelled through Chidambaram, Tiruvarur, Tanjavur, Kumbakonam,
Nagapattinam, Tirunallar and the Isha Ashram. On the scenic gardens of a
plush five star Delhi hotel, the wedding band was playing Hindi film
songs with a smattering of Sufi accents. I finally took the microphone
and exhorted the crowd into a group chant of OM NAMA SIVAYA, with
accompanying drums and guitars. I got the wedding guests and the newly
married couple to dance and sway under the stars. My contribution for
the magical convergence of planets and to the Magnificent One!!
Having spent a large chunk of February in New Delhi also gave me the
opportunity to visit the glamorous annual Delhi Art Fair. Now firmly
established in the social and cultural calendar of India, the
large crowds of art lovers, buyers, millionaires wanting to add to their
collections were peppered with ‘aam janta’ – the ordinary Delhi citizen
- just wanting to take in the ambience and excitement of the event. A
new age photo morphed Indira Gandhi’s unforgettable profile with Marie
Antoinette-like European bare shouldered gown and the stern IG eye
enlarged while she looked through a magnifying glass. Auroville based
installation artiste Pierre Legrand showcased his ethereal use of porous
screens and wall decorations tucked away in a corner. The most
impressive stalls were those from France, Portugal and Brazil. A
performance artiste from France was covered in layers and layers of
plaster, make up and small props all over his body. Standing for 8
hours, he slowly, ever so slowly, peeled off layer by layer to
astonished passersby. Another artiste lay prostrate on the floor slowly
placing stick-on ‘bindis’ all over his arm and face while a video camera
altered these patterns by making the red bindi ‘dissolve’ in a swirl of
computer magic making it look like blood stains... mesmerizing! It was a
stimulating day well spent amidst so much creativity!
The shortage of stainless steel in Delhi markets was answered by looking
at artiste Subodh Gupta’s installation of a Tree of Life decorated with
every conceivable gleaming utensil, tiffin career, pot and bucket! I
was thinking of the ubiquitous Rathna Stores in Madras. If only the
owner saw the potential of his merchandise! Will conservative South
Indians actually believe that this could be a pricey work of art? To be
fair to this Paris based artiste, whose recent movable metal walls for
French choreographer Angelin Prejlocaj were nothing short of
breathtaking, the large installation on display at Delhi’s NGMA (
National Gallery of Modern Art) is a testament to his vision and
acknowledged talent.
Which brings me to the idea of DESIGN. Unless we dancers make a
conscious commitment to design – spatial, visual, costume, aural and
video – to our productions, we will not be able to convince audiences to
invest the time and energy to travel to our presentations. Instead of
performances, we should try to deliver experiences. Dealing with the
multi hydra media monster is a challenge. Gone are the days when we
could either telephone or send a letter, a card or an e-mail to announce
our show. Now, a personal phone call, an sms ‘tree’ that sends out bulk
sms messages to hundreds in your phone book, twitter and facebook event
listings and multiple mentions in the increasing number of online mags
demand a more nuanced approach. If we hire a PR company just to deliver
these various platforms, then we, the dancer, are considered arrogant
and spoilt. How can we personally telephone the senior gurus and
teachers, whom we respect but who should recognise a printed invitation
as what it is meant to be – an invitation to attend! Getting eyeballs
BEFORE the event seems to be more important than after and many
performers seem to prefer Previews to Reviews. There is no simple answer
to the present situation.
Adding to this is the unavoidable aspect of live streaming. Take the
recently concluded Natyanjali series of concerts from Siva shrines
across Tamilnadu. Live streaming has become a familiar presence and
there seems to be little that can be done to avoid it. Perhaps it should
be viewed as an opportunity for more audiences to watch these shows
rather than the latest episode of TV serials. However, statistics show
that the maximum viewership comes from the USA and not from India.
March brings with it the inevitable clutch of programmes aimed at us -
women! Speeches at various venues and shows aimed at focusing attention
to our gender happen like a routine year after year. Each March we
speak, dream, dance, create, ideate and hope for a better world for our
girls. And each year the news delivers heart breaking reports of
shameful and blood curdling cruelty. In a society where colours, ideas,
words and imagination is being increasingly scrutinised, how long can we
continue to express what we truly feel without the fear of censorship?
Already the hue and cry over the banning and commitment to destroy all
copies of Chicago based scholar Wendy Donigher’s Hinduism book has not
gathered enough protesters. Film actor Kamal Hassan told me of an
incident with the censors about one particular scene from HEY RAM, a
political film he acted and directed in. “How lucky you dancers and
musicians are!” he said. “You can emote about sex, conjugal relations,
intimate words and nobody cares! Only we actors and directors are
scrutinised and chastised!” He did not know that he had inadvertently
uttered those magical two words – “nobody cares.” Not about what we do
but about who we are. Today, it is more true than ever.
Where can dancers rehearse while on tour? This is a huge question in
India. Auditoriums are built with no thought to the rehearsal or warm up
spaces for visiting performers. Over the years, I have given my dance
space in Madras to several friends and I, in turn have used the studios
of colleagues while on tour. Basic facilities like a good dancing space
is vital and sorely needed. As I write this, the numerous modern dance
schools, who teach salsa, tango, hip hop, jazz and mixed modern popular
forms have the best studio facilities - sleek wooden floors, wall to
wall mirrors and great changing and shower cubicles. During all three
years of conferences and festivals, my studio was buzzing all day and
sometimes up to midnight as dancers took turns to rehearse, create and
ideate. I watched and wondered about why none of our festival directors
and sabha maamaas even considered building a space that could be used
for rehearsals. Ah well. I forgot the national mantra - Adjust maadi!
In the UK, three young dancers prepare to share the evening in a new
initiative from Milapfest. SWADESH includes Mythili Prakash, Arushi
Mudgal and Monisa Nayak and will represent this Liverpool Arts
Organisation’s new move as commissioning arts producer. The images of
these three lovely dancers are very beguiling but it will be interesting
to see how well the individual styles and ideas come together in this
show which explores the idea of HOME. What and where is home? Is India
home for one born outside but whose art ties them to an imaginary
homeland? Does that geographical contour change? We await reviews and
comments on this show from audiences and critics. Milapfest is also
planning an ambitious conference this summer called SANNIDI. More on
that in the coming weeks. Meanwhile, Birmingham’s dynamo Piali Ray also
has her producer’s hat on as she ideates another interesting event next
year. I am more and more energised during my short visits to the UK. The
community is so diverse, self assured and innovative when it comes to
thinking out of the box. Many events are sensational. Some may not work
but the constant bubble of curiosity never abates. I always come away
with ideas and possibilities. This year, South bank has shifted the
annual ALCHEMY festival to late May and even NSD has succumbed to Delhi
winters and moved their wonderful theatre festival from January to
February from next year. Less of us will be freezing in the capital city
where our mufflers and gloves never come off even indoors!
The recent dance events with dancers of one style teaching one
particular item to a performer of another style has come in for many
comments- not all of them positive. How can a Kathak or an Odissi dancer
perform a Bharatanatyam varnam in a heavy Carnatic raga without looking
awkward? Can a ‘tribhang’ trained body respond adequately to a ‘jathi’?
How can the percussive striking of the ‘mridangam’ compare to the
‘pakhawaj’ or the ‘dhol’ for a Kuchipudi dancer? The idea is PR worthy
but judging from many responses, the evenings left many wondering or
disappointed. Each style has its stance, gait and persona. Even changing
the music forces the kinetics to shift ever so slightly. However, this
seems to be the trend of the moment- at least in New Delhi where more
such celebrations are planned.
Locked for long hours in a recording studio, preparing for my trips to
Washington DC and later to Bombay, I find myself marvelling at music and
sound as a wonderful trigger for mood and memory. A haunting lullaby in
Tamil punctuated by a lament in Rajasthani brings a mother’s dual
emotion of anguish and love to the fore. Poems, words and choreographic
ideas erupt while I am listening to music with Vedanth Bharadwaj at the
controls. My mind dances and my fingers are always etching lines in
space. I know that we all have our special moments when the juices flow.
For me it is the early morning hours around 5.15 am before my first
cuppa kaapi when the last dreams of the night before remain and the
tasks for the day ahead have not yet risen to the surface. Now if only I
can be creative during those long intercontinental flights. I always
reach for a glass of the bubbly and turn on a good movie. Or just fall
asleep dreaming of an acupressure foot massage!
To each of us, a special way to keep the pot stirred. Imagination in
full flow and the body-mind equilibrium in tandem. I begin Qui Gong
classes this month to refocus and travel deeper during my incessant
travels. If only I can stay in one place for ten days at a stretch!
Dr. Anita R Ratnam
Chennai/ Bombay/ London/ New York/ San Francisco
PS: Happy birthday, February 29th people! Rukmini Devi, former
Prime Minister Morarji Desai and dance scholar Ashish Mohan Khokar mark
this special day that comes around once in four years.
Twitter: @aratnam
Facebook: Anita R Ratnam
Instagram: @anitaratnam
Blog: THE A LIST / anita-ratnam.blogspot.in
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