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 Textures of Traditions - Jeetendra Hirschfeld e-mail: sathirdance@gmail.com Photos courtesy: Ranga Mandira September 28, 2023 Over the weekend of 16th and 17th September, Dr Swarnamalya Ganesh of Ranga Mandira curated and directed a cultural event titled "Textures of Traditions" at the Kraft Retail Dine, conveniently located near the Nandanam metro station, Chennai. The festival celebrated the diverse and vibrant arts and crafts of India. It marked my first visit to Kraft Retail, a standalone restaurant within an exquisite building distinguished by its expansive glass front and sides. Before we dive in, this is not a formal event review. Instead, I want to share my personal experience and give you a glimpse of what it was like to attend. Also, I could not catch all the sessions presented from morning to night. So, I will focus on a few highlights: a workshop, some music, and a dance performance. The festival commenced with an exhibition, "Cultured Lives" by Ek Potlee Ret Kai (Kaani Nilam). This travelling exhibit featured an immersive audio-visual installation and textual documentation. Its creation stemmed from the desire to foster meaningful conversations about our perceptions of culture. It aimed to challenge stereotypes and confront the stigmas associated with marginalised identities, encouraging deliberate reflection on privilege, identity, and access. Dancer Kavitha Ramu (IAS, CEO of CDMA) graciously inaugurated the exhibition. Following this, the festival's curtain-raiser, "Tamizhe, a testament to the legacy of Dravidian Culture", was presented by Swarnamalya Ganesh and The Ranga Mandira Sadir Melam. The Minister for School Education, Government of Tamil Nadu, Anbil Mahesh Poyyamozhi, Member of the Legislative Assembly, Mylapore Constituency, Mylai Velu, and Janaka Pushpanathan, Director of the British Council in South India, inaugurated the event. Ātrupadai Towards the end of the morning, an innovative event unfolded - India's inaugural Arts Market dedicated to creative industries and cultural economies, aptly named "Ātrupadai". This unique gathering aimed to spotlight one artist paving the way for another, serving as a knowledge sharing platform that brought together approximately thirty-one artists from various disciplines. While the concept is not entirely novel, it marked a pioneering initiative for Chennai. The essence of this marketplace was to foster connections and offer insights into the individuals within our creative community, showcasing the myriad ways artists engage with their craft. This event prompted us to ponder how we can establish bonds within existing structures and new structures we can create, ultimately paving the way for collaborations, new possibilities, and the nurturing of imaginative art for the future. During this gathering, the artists were arranged into groups, seating them at seven tables - an intriguing concept, especially for those actively participating at the tables. However, as an observer, navigating and "listening in" from table to table proved somewhat cumbersome. I wished for a means to amplify the voices of the artists to gain a clearer understanding of their work and the challenges they may encounter. Regrettably, I can hardly recall anything from the tables I visited, as the difficulty in hearing what was said hindered my experience. Unfortunately, the rain in the evening prevented me from returning to the venue and watching the dance performances by Swarnamalya and The Ranga Mandira Sadir Melam and Manipuri by Kheersana, Jeena, and Niky, specially flown in for the event. Exploring Spaces On the second day, the afternoon highlight was a workshop led by Dr Anita Ratnam. During this engaging session, Anita Ratnam aimed to prompt each participant to recognise, acknowledge, and respond to their surrounding environment. The workshop predominantly attracted Bharatanatyam performers and students, with the added provision for spectators to observe the one-and-a-half-hour session. Today, performers increasingly look for unconventional spaces in addition to the traditional Sabhas and fixed proscenium stages. But how do you perform when there are no wings, prefixed lights, or sound systems to rely on? Can you dance the necessary adavu sequences while adjusting to an environment without the usual front right and left corners? The Kraft Retail Dine provided an ideal environment for exploring precisely these questions. Although the restaurant had cleared its tables to create space, certain obstacles persisted. Anita Ratnam prompted the participants to ponder how to pivot, adapt, fold, curve, and utilise the elements present in this unconventional setting, absent the typical proscenium comforts. Throughout the workshop with the participants, Anita underscored the importance of thoroughly exploring the dance space and encouraged everyone to observe keenly, experimenting with shapes. These shapes ranged from soft, round forms to squares with sharp edges, crafted using their hands and feet. She also introduced an intriguing element by incorporating obstacles, like chairs, into the dance process. Notably, the space featured a staircase leading to the first floor, and Anita ingeniously integrated it into the dance space. Participants began by walking up and down the steps, gradually evolving to view the staircase as a unique performance area. They explored the possibility of moving to the inflexion of the rhythm (khanda) or dancing while engaging with the distinctive "sharpness" of the staircase. These explorations initially posed a challenge for the Bharatanatyam practitioners solely familiar with adavus. The workshop primarily revolved around creating ripples in water. Rather than focusing on learning specific dance items or achieving completion, it encouraged a deeper exploration of the body's interaction with space. While Bharatanatyam has established techniques, skilled dancers can engage in the "physicalisation of imagination" to convey ideas and emotions in their performances, adding depth and personal expression to the art form. Anita Ratnam was assisted by her colleague, Subhasri Ravi, during the workshop.
Echoes of Kashmir Kashmiri native and singer-songwriter Ahmad Parvez delivered a soul-stirring performance of Urdu and Hindi poetry during the early evening. "Koshur - Echoes of Kashmir" included pieces written by himself and others who inspired him. Parvez's musical style is a fusion of folk, blues, and rock elements, with his guitar as his sole accompaniment. Through his songs, he delved into themes of feminism, love, self-love, and resistance, delivered in two sets. The theme of love and resistance was harmoniously set against the backdrop of the vast, open expanse of the glass wall just as Sunday evening rain began to make its imminent arrival. In the first set, Ahmad focused on themes of love and the human experience. After the third song, he posed an intriguing question to the audience: "Is language a barrier?" While understanding a language aids in capturing its nuances, Ahmad reminded us that there are myriad ways of communicating. Even if one comprehends a language entirely, grasping the essence of the art can still be elusive. Parvez's body language, expressions, and emotions conveyed through sweat and tears bridged the language barrier effectively. Even so, he thoughtfully provided the audience with a brief English introduction before each song, enhancing our connection to the music. The soulful song titled 'Dil E Nadaan Tujhe Hua Kya Hai' emerged as my favourite of the performance. The solitary Tamil song of the evening, the fifth in line, was 'Munbe Vaa' from the 2006 film "Sillunu Oru Kaadhal", and it arrived as a delightful surprise. The second set took a different path, featuring songs reflecting his deep-rooted attachment to his homeland. Parvez sang a series of resistance songs, serving as a heartfelt tribute to the people of Kashmir who have tragically lost their lives due to conflict. He highlighted life in the valley and emphasised that Kashmir is more than just a paradise. While many of us from afar may envision the picturesque beauty of Kashmir, and indeed, it is breathtaking, the singer conveyed that this beauty coexists with the profound pain and trauma endured by generations of its people. Ahmad Parvez delivered an evening of music with depth and a rich performance. Manodharma Bharatanatyam artist Aniruddha Knight presented a Margam with the accompaniment of an ensemble of seasoned musicians. The musical band featured vocalists Saraswathy Sankaranarayanan and Usha Sivakumar, mridangam artist Adyar K. Gopinath, violinist Anantha Krishnan, and kanjira by B.S. Purushottam. Abinaya and Maharani, disciples of Aniruddha, provided the nattuvangam. The performance by Aniruddha in a non-proscenium setting became evident during the show, reminding us of the concepts discussed earlier in Anita Ratnam's workshop. Adapting to the audience almost sharing the performance space and dealing with various obstacles, including those above and beside you, presented challenges. Fortunately, Aniruddha adeptly navigated these challenges on the spot. After receiving blessings from his father, mridangam artist Douglas Knight, Aniruddha commenced his performance with a Jathisvaram in raga Vasantha (tisra talam), composed in the 19th century by Ponnayya of the Tanjore Quartet. The Jathisvaram of the nattuvanar masters usually commences with the demanding mei adavu, a notable feature. Aniruddha initiated the pallavi korvai with sixteen avarthanams exclusively using the mei adavu, lasting nearly three minutes, before proceeding to the jathi theermanam. Remaining faithful to the heritage of his iconic grandmother Balasaraswati and mother Lakshmi Knight, Aniruddha effortlessly conveys abhinaya in varnams, padams, and javalis on the spot. As the highlight, Aniruddha performed the classic "Mohamana" in the Bhairavi raga, showcasing the artistic style of his family. An aspect of this style is the improvised abhinaya, contrasting with the structured nritta. It demands active participation from the musicians, as they do not know how the repetitions of the pallavi and anupallavi lines will unfold. It also encourages the audience to focus on the experience rather than comprehension. The varnam revolves around the central theme of a constant desirous state - the courtesan (nayika) and her passionate longing for the beloved, resulting in an irresistible chemistry brimming with sringara. The singers imbued the lines of the varnam with rich musicality, incorporating nuanced variations, while Aniruddha delivered a series of spontaneous improvisations in sync with the song lyrics. His seamless flow of various hastha mudras, complemented by his elongated arms and gracefully arched fingers, created captivating images. I have followed the artistic journey of Aniruddha Knight for many years. Whenever he performs in Chennai, I rarely miss it. He possesses a unique stage presence that sets him apart from others, and it is evident that he dedicates considerable thought to his art. Despite bearing the weight of family history, especially in recent years, Aniruddha has found a unique performance style while still honouring the texture and tradition of his family. His dance is original and distinctive, which, in my opinion, is what Bharatanatyam should be about - originality rather than uniformity. All good things must end Throughout the second day, a vibrant craft bazaar offered a delightful array of handmade treasures, including jewellery, palm leaf products, sarees, earthen kitchenware, body and home care items, and other unique finds. The inaugural "Textures of Traditions" cultural event by Swarnamalya Ganesh was masterfully curated. It is essential to acknowledge that organising such an event demands meticulous planning and coordination, and it would not be achievable without the dedicated support of a committed team. Swarnamalya received invaluable assistance from her sister Radhika Ganesh (Ek Potlee Ret Ki), Ruckmani Lakshmi Narasimhan (executive producer), AR Subbaiah and Arjun (festival managers), students of Ranga Mandira, the staff of Kraft Retail Dine, and an entire team of dedicated volunteers. The two-day event saw significant attendance in all its sessions, resulting in the emergence of new audiences, artistic collaborations, and the cultivation of new friendships.  Jeetendra Hirschfeld is a Bharatanatyam artiste, writer, and researcher in dance history with special interests in Tanjore Natyam Art, Courtesans, and Royals. |
