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A Legacy of Innovation: Contextualising an International Creative Practice Project

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A Legacy of Innovation: Contextualising an International Creative Practice Project COVER SHEET Stock, Cheryl F. (2006) A Legacy of Innovation: Contextualising an International Creative Practice Project. Kolkata, West Bengal. 2004. In Vella, Richard, Eds. Proceedings SPIN SPeculation and INnovation: Applying Practice Led Research in the Creative Industries, pages pp. 1- 16, Creative Industries Faculty, QUT, Brisbane. Copyright 2006 Cheryl F. Stock Accessed from http://eprints.qut.edu.au A LEGACY OF INNOVATION Contextualising an international creative practice project Kolkata, West Bengal, December 2004. Cheryl Stock Creative Industries Queensland University of Technology [email protected] Abstract Rabindranath Tagore and Uday Shankar, both 20 th century Indian cultural icons, used tradition as a basis for new theatre concepts and processes, which were innovative yet commercially and internationally successful. As with many innovators, their once fresh ideas now form the basis of a somewhat formulaic approach emulated by dance organisations in West Bengal . Understanding this context was crucial at the 2004 Kolkata International Choreographic Workshop in which three non-Indian choreographers worked with teams of 17-20 Indian dancers trained either in classical traditions or the ‘Uday Shankar' style. This paper speculates on differing interpretations of innovation and practice through problematising the expectations, actuality and outcomes of this workshop. Encoded with the cultural aesthetics and movement patterns of their training and beliefs, the dancers also subtly imbued the process and works with the underlying spiritual significance of Indian dance. Analysis of the creative processes of the workshop yields intermittent understandings of their complex cultural, political and social milieu. The paper also examines issues of content creation, form and function in a culture where commercialisation, tradition and spirituality exist side by side within a work, an ethos, a community. In this environment nascent practice-led research approaches seem internalised and problematic, relevant for an individualistic erstwhile global culture, but perhaps not for a communal yet hierarchical context of strong leadership still steeped in a living tradition. Introduction Let us take heart and make daring experiments, venture out into the open road and in the face of all risks, go through experiences in the great world of the human mind, defying holy prohibitions by prudent little critics (Tagore as cited in Parimoo, 1989, p. 31). Nobel Laureate poet Rabindranath Tagore expressed these sentiments in 1939. His statement could be seen as a poetic definition of innovation, a term with a long history ©2006 Cheryl Stock, for Speculation and Innovation: applying practice led research in the Creative Industries 1 which is continually being re-examined and re-badged in the context of its time and place. 1. Concepts of innovation From the Latin verb innovare, to make new, definitions of innovation (Collins, 1995, p. 492; Oxford, 1995, p. 702) have the common premise of introducing new ideas or methods, or altering existing ones. Definitions are inevitably linked with the concept of creativity which, like innovation, relies on invention and imagination. Hartley (2004) emphasises the importance of implementation as a condition of innovation (p. ix) stating that: creativity is a precondition for innovation, but innovation – the evaluation and assessment of the creative idea and its implementation as a practical process – is what will make the difference in the development of products and services. Currently, concepts of innovation have been taken up by governments, corporate business and educational institutions to apply to economics, wealth creation and specifically the creative industries, where current concepts link innovation to technology and new media. In an arts context, innovation extends to mixed live and digital environments which do away with high art/low art boundaries. As an Australian artist/academic working within an innovation paradigm in a creative industries faculty of a university, but with a longer history of working with contemporised dance traditions in Asia, concepts of innovation seem slippery and contingent. Differences in perception and actuality regarding innovation in an Indian context were brought into sharp relief in December 2004 when I was invited to participate in the Kolkata International Creative Dance Workshop and Seminar. It was not so much the creative processes of the workshop itself but the historical and present cultural contexts in which the workshop took place that led me to re-examine the paradigms with which I am now surrounded in my home environment. This has resulted in an exploration of the complex societal and artistic milieu – steeped in tradition – in which I was briefly but intensely immersed through my experiences in contemporary Kolkata. Innovation, in relation to the artistic developments of Bengal in this century and the last, was a term that surfaced continually, and has led to examining synergies between past and present manifestations of Indian cultural innovation, with particular reference to dance. ©2006 Cheryl Stock, for Speculation and Innovation: applying practice led research in the Creative Industries 2 According to Wissler, Haseman and Keane (2004), innovation derives “from the contemporary desire for interdisciplinarity” (p. 263) whereby creative disciplines encourage “a more effective translation of languages and practices across disciplines” (p. 264). This attribute is strongly evident in the eclectic work of two 20th century cultural icons of India – Rabindranath Tagore and Uday Shankar – through integration of their own multidisciplinary specialities in creative and performative work. In summarising the major generic attributes of the current ‘innovation agenda’ as defined, one could extrapolate the following: interdisciplinarity; use of technology; blurring the divide between high art and popular culture; implementation of creativity into new and internationalised practices and products. 2. An innovation legacy in a West Bengali context In order to comprehend the rewards and the frustrations inherent in the 2004 Kolkata Workshop, one needs to examine the still pervasive influences bequeathed by the two giant Bengali cultural innovators; Rabindranath Tagore (1861-1941) and Uday Shankar (1900-1977) who spanned pre and post independent India (1947). 2.1 The innovation legacy of Rabindranath Tagore Let me state clearly that I have no distrust of any culture because of its foreign character. On the contrary, I believe that the shock of outside forces is necessary for maintaining the vitality of our intellect. Tagore (as cited in King & Durbridge, 1999, p. 194) Tagore, fearless and global in his vision, was a formidable interdisciplinary artist; a Nobel poet, writer, theatre director, composer, painter and philosopher. He was also an educator of note, with Oxford University conferring on him an Honorary Doctorate in 1940 (Dutta & Robinson, 2003, p. 192). His establishment of the Visva Bharati University in 1921 in the rural village of Santiniketan in West Bengal, was considered “the most unorthodox” educational institution of twentieth-century India (ibid.). Tagore ©2006 Cheryl Stock, for Speculation and Innovation: applying practice led research in the Creative Industries 3 was convinced that students should have as much freedom as possible “by exposing them to nature at every opportunity and by accenting the arts” (p. 194). Visva Bharati, meaning “the centre of learning for the whole world” (King & Durbridge, 1999, p. 180) was a place where Tagore encapsulated his ideals “for true spiritual realisation, in amity, good fellowship and co-operation between the thinkers and scholars of both Western and Eastern countries” (Aims and Objectives from handbook Visva Bharati – heritage: Vision and values, 1999, p. 1). Making integrated arts the centrepiece of all education was fundamental to his maxim that “education should not be disassociated from life” (as cited in Dutta & Robinson, 2003, p. 194). In placing creativity at the heart of his educational philosophy, though not operating in the post- modern global environment of the present, Tagore’s broad multi-disciplinary approach echoes the current views of Wissler, Haseman, & Keane (2004) who state (p. 262): The kinds of practices that are found in the creative disciplines play an important role in creating environments that stimulate enquiry, sharing and diffusion of ideas, recombination, and synthesis. Despite the humanist context and modernist period, Tagore’s educational innovations do not seem so removed from the creativity, life-long authentic learning and internationalising perspectives agenda of today. Whilst not versed in dance, Tagore evolved a new form of dance, according to Bannerjee (1992), “through the blending of the soft elements of Manipuri and Mohiniattam classical styles with the virile energy of the Kathak form” (p.183), creating an aesthetic and genre which was adopted as the Tagore style (known as Rabindrik dance) at Visva Bharati in Santiniketan. Apart from creating stylistic innovations through new forms, new content was introduced in many of his dance dramas which were political vehicles on themes such as untouchables and the independence of women (Kothari, 2000a, p. 2). According to Sarkar (2000), despite Tagore’s lack of specific dance knowledge, his “keen artistic and aesthetic sense” resulted in a successful choice of teachers and blending of styles (including those from Indonesia,
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