September 1, 2012
Why is it that as we grow older, time seems to race ahead? Already a
whole month has gone by in breathless haste and I am at the computer
banging out this note before I head to the airport for another long trip
and a performance. A month ago, on the first day of August, I returned
to Chennai and dived straight into the POLLINATOR/Bee Festival ideated
by arts curator Rajeev Sethi of Festival of India fame. Three days of
playing the Sutradhar with jet lagged brain, body and tongue amidst a
canvas of beekeepers, dancers, artistes, social activists,
educationists, musicians, scientists and filmmakers was an exhilarating
way of returning home. While Alarmel Valli and Malavika Sarukkai
interpreted nature and the appeal of bees through Bharatanatyam, it was
the performances of Sonal Mansingh, Veenapani Chawla’s ‘mizhavu’
drummers and Priya Sarukkai Chabria’s poetry that were the highlight of
the event. Sonal dazzled with her knowledge, subtle artistry and acting
skills. For many in the audience, her performance was a
revelation.
It was the buzz of the bees that sustained me through a "jaw
dropping"
extravaganza by cine fame Shobana. Declaring that her new dance
spectacle KRISHNA was the result of research, she blithely showcased all
the female protagonists of this timeless story as lustful sluts. Seated
in ROW ONE and assaulted with the OTT music and choreography, I
marvelled at her well trained and hard working dancers situated in a
very smug production. However, Shobana’s understanding of the camera was
so evident since what we saw on stage seemed very different from what
the television cameras picked up for broadcast for the back rows.
Tickets for this show were priced at Rupees 3000 and were sold out days
in advance. Ironically, this was a fundraising effort for Sri Krishna
Gana Sabha, Chennai, started five decades ago by the friendship of late
arts patron R Yagnaraman and Carnatic musician Maharajapuram
Santhanam- both purists of the classical form.
A wonderful new talent has emerged onto the Bharatanatyam scene. Well,
she is not new or young but Savita Sastry is returning to dance from a
long hiatus and she was simply marvellous in SOUL CAGES, a thematic work
about death. The childish script and awkward treatment to this work did
not detract from the clear brilliance of Savita’s dancing. If she
performed traditional Bharatanatyam, she will be a force to reckon with
in the very near future. With all the right lines, superb technique and
the right theatrical intensity, here’s wishing her all the best.
The first contemporary dance awards were held in Chennai last month and
it was with wistful memories that I returned to the historic Museum
Theatre, the site of the nine year long THE OTHER FESTIVAL of
contemporary arts. The place was dull and silent – a far cry from the
bustle of the past. The two day dance event was also relatively
disappointing with a wildly uneven showcase of entries. Most of the
dancers seemed to have forgotten that India became independent 65 years
ago. Quoting poets from France and Germany and even Bob Marley, the
dancing was mostly substandard with Shobana Jeyasingh being the general
yardstick for most Bharatanatyam abstractions – though done poorly.
Preethi Athreya impressed with her short French piano collaboration
though Padmini Chettur, easily India’s most well known contemporary
dance export, was unable to communicate with an excerpt of her new work
against white cloth representing a white wall. Why she chose to
participate was a puzzle. Perhaps she was requested though the mentoring
opportunity with Akram Khan could not have been the draw.
The first day was so tiresome, that I actually dozed off in the midst of
the performances. Derivative work, poor choreography and sloppy
costumes seemed to be the universal code. As New York Times writer
Alistair Macaulay said sarcastically of an activist US based Indian
dancer, “it was like watching paint dry.” The tedium was so intense that
even two jury members were actually seen taking a break in the
corridor. Many in the audience were missing the spirit of Chandralekha
in the midst of this dismal scenario. Kudos, however, to curator and
arts patron Ranvir Shah, for kick-starting this initiative. The prize of
5 lakhs for the winning performance and a certain national tour is a
great start for those invested in contemporary movement.
The best performance of the nine group showcase ended up winning the
competition. Without single sheet of information, we were unable to get
any details except that the choreographer of the winning work was Deepak
Kurki Shivaswamy. Trained at Attakkalari, the two male dancers wearing
business suits and shoes strutted onto the stage with panache and did a
lovely short piece to walk away with the prize. And I would like to wind
up this section by asking a question of all these young contemporary
dancers. “Why are you so ashamed of being Indian? What is this
fascination with spouting words and imitating moves from what the West
has already discarded? Why do you want to be bad imitations of the white
dance world? Is there not a single image or quote or note or move from
your own tradition that you cannot take, abstract and reformat
intelligently? Stop stealing from YOU TUBE! And what’s with these stony
faces? And Black... Phuleese. If you must wear biker shorts please spare
us your cellulite behinds!”
In contrast comes good news from Delhi where Geeta Chandran’s new solo
on GANDHI has caught the imagination of many. A stark, meditative and
slow work, it has now been booked in several venues and one hopes to get
a chance to see this mature presentation soon in South India.
Meanwhile, enjoy the lovely images with costumes designed by my long
time friend and collaborator Sandhya Raman.
Aditi Mangaldas has completed her mainstage shows at the Edinburgh
Festival and now, with an international agent, she is on her toes,
literally, all year around. Well, how does one get to the international
level in dance? An agent is crucial as Nrityagram has known for so long
and as impressario Sanjoy Roy of New Delhi seems to reinforce when he
speaks to dancers.
Excellence in presentation is something that cannot come overnight and
how does one get experience if you do not travel and learn? Well, we are
at a Catch 22 situation where India has excellent performers but no way
of polishing work and getting it “out there” for a viewing. At an
informal round table talk with a clutch of important cultural workers
from around the country, there was a universal agreement that the
government cares little for culture since it is not a vote bank or a way
of adding to personal coffers. So, personal interventions seem to be
the only way that India can continue to create, perform and spread the
word about the dynamism in her arts. And perhaps a revisit to the
writings of Abhinavagupta about ‘rasa’ and aesthetics could help the
younger generation of dancers understand the dynamism of a tradition
that is so impressive and inspirational.
It was a heart warming sight to see Bharatanatyam dancer Uma
Namboodiripad return to the stage months after a shattering personal
tragedy. I have always marvelled at how dance has pulled so many women
out of the dumps and revived their minds and souls. Uma is one of Chitra
Visweswaran’s prize students and she embodies the best of her guru with
an added musicality all her own. Good luck to a talented young woman,
who dances, sings and also conducts shows with excellent nattuvangam
skills. A rare triple treat in today’s world where even the devi-divas
cannot hold a single note!
Iconic Akram Khan is in India mesmerising Indian audiences with GNOSIS
(inspired by Gandhari of the Mahabharata) but also attracting critics in
small quarters. A brilliant dancer, his career is an example of how
management, funding and a long term vision can actually make a superstar
in the world of contemporary dance as economies collapse like nine
pins. Whiz manager Farookh Choudhry speaks on the ‘Making of Akram Khan’
the international brand. I remember meeting with Farookh in 1997 at the
South Bank café in London and making my first request for Akram
to visit India for the one year old THE OTHER FESTIVAL. Farookh
carefully explained his ten year strategy for this brilliant dancer and
now BRAND AKRAM KHAN is international. It was only in 2000 that I
watched Akram and Mavin Khoo perform NO MALE EGOS in Birmingham to a
rapturous crowd. Look at the different trajectories of these two lovely
performers!
The stalemate at Kalakshetra continues. What will happen next is
anyone’s guess. Stay tuned. Leela Samson is back from her long
international tour and we wait and watch.
And I close with a note of hope. All of August was spent rehearsing and
creating three new shows. A MILLION SITAs, revamped and reconceived for a
special festival in KÖLN, Germany. AVANI - the TAGORE work
restaged in Chennai at the end of the national tour and a brand new
tribute to my great aunt, the late Ambujam Krishna called SWARNA KANNAN –
The Golden One. From dawn to dusk it was rehearsals and sweat 24/7.
Never have I felt so tired and exhilarated at once. Unable to sleep and
do anything else, this overdose of dance has made me realise how
fortunate we are who are able to express and pour our energies into
something that is so healthy and fulfilling to mind, body and spirit. It
is when we actually think about the results and payback that we get
depressed. But as my father put it so succinctly, “In business, one
talks about ROI – return on investment. In the arts, you must think
about ROI differently – Return on INFLUENCE.”
And so it goes. Into the Fall season where the weather turns crisp and
the leaves turn golden. The annual December conference and festival EPIC
WOMEN is getting more and more exciting. Watch the announcements and
premieres of this wonderful event scheduled in Chennai, December 20 to
23. Performers, shows, talks and other events will be announced through
this month and in the coming weeks on the website and also on social
media. Stay tuned.
Enjoy the seasons and the coming festivals. And dance… it will sustain you, save you from yourself and keep you sane.
Dr. Anita R Ratnam
Chennai/ Köln
Twitter: @aratnam
Facebook: Anita R Ratnam
Instagram: @anitaratnam
Blog: THE A LIST / anita-ratnam.blogspot.in
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