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The Dance Seminar

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The Dance Seminar Dr. V. Raghavan reading his paper. THE DANCE • A Brief Day to SEMINAR • Day Account he Seminar on the dance arts of India, the regard for authentic traditions, irrespective of T first of its kind to be organised by the linguistic and regional differences or attach­ Sangeet Natak Akademi, was inaugurated ments. at Vigyan Bhavan, New Delhi, on March 30, 1958, by Dr. P.V. Rajamannar, Chairman of "India has been famous for its spirit of the Akademi. Over 350 artists and 40 scholars tolerance in religious matters", he pleaded, "and and critics participated in the Seminar. I do not see why a similar spirit of tolerance cannot be shown in matters of art, particularly The Secretary of the Akademi, Miss Nirmala music and dance." Joshi, in her report, outlined the objects and A Misnomer ideals of the Akademi and narrated its various activities and achievements. Emphasising the need for new forms, Dr. Rajamannar asked that, apart from the preser­ Dr. Rajamannar, in his opening address, vation of old traditions, was there no scope for pointed out the existing spirit of rivalry, intole­ the creation of new forms? His answer was rance and misunderstanding between the 'yes', "provided the inspiration is genuine and different schools or systems of music and dance the creation is authentic and original and not all over the country and pleaded for more a mere imitation". He was of the view that the sympathy, understanding and appreciation of word 'Bharata Nat yam' as it was used now, the various styles that existed in this vast land. was a misnomer for the following two reasons: His earnest appeal to all true lovers of Indian culture was to develop a sense of respect and (1) "Natyam", he said, "is not a very appro- 25 priate term for the solo dance which goes by dances newly added, may not appeal to all. that name", and (2) "even if Natyam can be Similarly the attempt to short-circuit the pro­ used loosely for mere dance, one cannot say cess of fresh original creative activity by using that this is the only dance form, which is accor­ new types of song-a Tanavarna or a Kirtana of ding to Bharata" and, therefore, he was of the the Trinity-cannot be commended. These opinion that in the revival of the interest in songs were there when the great dance masters dance art, greater attention should be paid to were moulding and setting the standards for the protection of dance dramas as envisaged by this art. If they did not prefer these, we should Bharata in Natya Sastra. think well before we take them up. The Padas cannot be substituted by other kinds of songs, Referring to the preservation of old tradi­ the speciality of songs intended for Abhinaya tions, he posed the question whether there was lies in the scope they give for emotional elabo­ any scope for the creation of new forms and ration, richness of feeling and certain artistry replied in the affirmative. He said that the and correctness in the depiction and unfolding infinite variety of folk dances in the country had of the sentiment." enough material for any gifted choreographer to create new dance forms. Talking of Abhinaya, he said: "this art of Bharata Natya has a feature which marks it off Dr. V. Raghavan, of Madras University, from the dances ofother nations in a manner one of the Directors of the Seminar, thanked as no other feature does it. It is an interpre­ the Chairman, Dr. Rajamannar, for his very tative expression through an elaborate system illuminating address on the opening day which, of Abhinaya which could run close to the text he felt, would be a sort of guide for the deli­ of the song, word by word". berations of the Seminar. Stage Performances Dr. Raghavan's Paper Referring to the actual performances on the stage, he regretted the slovenliness and In the afternoon session of the opening day, careless manner in which most of the dances Dr. V. Raghavan read a scholarly paper on were presented today. Taking the first item in Bharata Natyam. He covered a vast field and a performance of Bharata Natyam, Alarippu, he took his listeners to the distant past of India's said "the dancer when she goes back should history and traced the development of the art do so with grace, without jerk, jumpy or stam­ of dance as evolved and practised in India for ping of steps and pointed out the uselessness over 5,000 years. He quoted profusely from of trying to enrich the movements of Alarippu various classical treatises in Sanskrit and Tamil by bringing into it unnecessary adavus:" He to show the various styles and techniques deve­ pointed out that "in Jatiswara also, where music loped during this long period and dealt with appears, the arms should move or whirl and some aspects of them in more detail. the body bend or rise according to the curves and sways of the Raga and its Svarajati. Lift­ "Bharata Natya", he said, "was an extrac­ ing of the arm, the rechaka of the neck, wheel­ tion and an essence of the interpretative art of ing, lifting of the leg and stepping should Indian dance and could be claimed as one of accord with the gamakas of the Ragas as well the greatest creations of the artistic genius of as the aksarakalas of the Tala; one cannot just the Nation". As solo dance, as different thrust the hand in haste." from other forms of dance drama, Bharata Natyam was the national dance art par excel­ He regretted the unfortunate appearance of lence, he said. a new art pattern that one saw in modern reci­ tals which were completely divorced from After discussing the various changes that music and resembled the play-back stars of the had crept into this ancient art, he said: "while screen. Talking of Abhinaya, he said: "the none can oppose new creative activity, mere dancer could and should then unfold her Abhi­ change due to insufficient understanding of the naya in a gradual and artistic manner. Bharata traditional pattern cannot lead to any progress. has set forth this style of gradual unfoldment The transposition of certain items of recital, of Abhinaya and Kalidasa has offered his bril­ according to one's fancy or to suit exigency liant gloss on it through Malavika and Pandta­ like dress and other miscellaneous pieces and Kausiki". Shrimati Devika Rani Roerich, Shrimati Anjani Bai Malpekar and Shrimati Menka photographed during a session of the Dance Seminar. Six stages again in his scholarly way, dealt with the sub­ ject fairly exhaustively and quoted extensively He then referred to the six stages in this; from some of the authoritative treatises of the first was Suca; the emotion had entered the ancient days. artist and permeated her limbs which now tingled with it. The limbs had not yet started In conclusion, he asked what were the results expression, all the same a fresh glow or affecta­ of this long sweep taken by us; he answered tion had shown itself all over the personality: them by saying that: the words of the songs were still inside but the meaning was just suggested or indicated here; 1. We know from this that the ancient Indian hence the name Suca. The second stage was stage was rich and had numerous forms Ankura, the first sprouting ofexpression should of performances in its repertoire; be essential and brief and they were the first effects showing themselves on the facial features. 2. the art of dance was not static, but was putting forth new forms continuously; Talking of Karanas, he said: "they are components of the larger. sequences called 3. in th~ creation of these fresh forms, the Angaharas. Without understanding this truth classical authors took freely popular forms that it is a moment in a flowing movement, if and built them up in the classical idiom; one flings a Karana in, one is doing violence. to the art" and, therefore, he pleaded for caution 4. the regional and popular elements enriched and patient study in the use of this Karana by the dance art with their own contributions bringing about the needed reformation along which were far from being ignored and the right lines. He suggested not only the utilised. starting of a dance teachers' college but also to get together some of the foremost living Nattu­ Shri Krishna Rao's Pap~r vanars and, with their help, framing a new system of syllabus for training youthful dancers. The second paper that was read on the opening day by Shri U. S. Krishna Rao of The second paper, which Dr. Raghavan r~ad Mysore University was on "Modern Trends in on April I, was a sequel to his first paper dealing Bharata Nat yam". After making the usual with Uparupakas and Nrityaprabhandhas. He, observations of the origin, antiquity and the 27 cafe foot-work. A special feature of this Mysore style, he added, was that its Muktaya adavus were rendered differently from that of the Tanjore School and in the Abhinaya there was a preponderance of Telugu Javalis. Consi­ dering the present-day popularity of Bharata Nat yam and its ramifications all over India, he felt that group dancing or ballet form of Bharata Nat yam would be more welcome than the solo type of dancing. He referred to the experiments along these lines by Shrimati Rukmini Devi cf Kalakshetra and Smt. Mrinalini Sarabhai ofAhmedabad. He suggested the introduction of classical dance in schools and universities, facilities for research and scope to evolve new systems of presentation, provided the teachers had the courage to go away from the time-honoured system prevalent today.
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