Modern Experiments in Indian Classical Dance, New Wave After 1930, Udayshankar and Later Contemporary, Creative Artists Module 33 Thinking Dancers
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PAPER 7 MODERN DANCE AND ITS DEVELOPMENT IN THE WORLD AFTER 1960 (USA, EUROPE, SEA) MODERN EXPERIMENTS IN INDIAN CLASSICAL DANCE, NEW WAVE AFTER 1930, UDAYSHANKAR AND LATER CONTEMPORARY, CREATIVE ARTISTS MODULE 33 THINKING DANCERS While Indian classical forma re centuries old, many have made it new with infusion from modern literature, recycling old classics and reinterpreting these. While their body looks the form they have chosen to learn, perform and teach - Bharatantyam, Orissi or Kathak - their usage is different. We take examples of three such “thinking dancers”, one in each style. Leela Samson for Bharatanatyam; Madhavi Mudgal for Orissi and Shovana Narain for Kathak. LEELA SAMSON learnt in the strict mould of Kalakshetra. She was a sincere, studious rather average student of the institution she then became director of! Bombay born, she moved to Delhi to seek fame and fortune and Delhi connections helped her career lots including getting her the coveted post of Sangeet Natak Akademi chairmanship, among others. Her career in Delhi was centred on the institution Bharatiya Kala Kendra, where she taught foreigners like Justin McCarthy who continued to teach there, after her. Leela Sasmon has remained a cautious interpreter of dance. Her Bharatanatyam has a wholeness and pleasantness and she has worked quietly and consistently. 1 Her works have grown from first attempts at group through SPANDA / स्ऩंद that became sequential like Spanda 1 Spanda 2…. She maintains” The margam has been central to my performances from 1971 to date. Right through my career and now, I never fail to do the varnam, padams and javalis. I revived a varnam in Telugu in the raag Kalyani, an original quartet the varnam that was being done in Tamil and Sanskrit which were later day versions, not as beautiful as the original. This year alone I choreographed 2 new varnams - one composed by Lalgudi Jayaraman and the other by G. Vijayaraghavan. My repertoire of padams, tillanas and ashtapadis is extensive. Besides, I do an extensive repertoire in Sanskrit - works that I have researched and had composed, then choreographed for performance in the solo repertoire. Spanda's repertoire is now over 17/18 compositions - Spanda Maatrika / स्ऩंद मात्रिका , Aakaash / आकाश, Charishnu / चाररष्ण,ु Dwa Suparna / 饍वा सुऩणण, Atishaya / अतिशय, Swaranjali / स्वरांजलऱ, Parinati / ऩररणति, Bhaaskaraya Namaha / भास्कराय नमः, Gange / गंगे among others. I have also choreographed a major production with 7 styles and 35 to 60 dancers and percussionists called Charishnu and the Pancha Bhutas with 24 dancers - Bharati Natyam and Manipuri dancers in collaboration with Anjika.” She collaborated with Sadanam Balakrishnan and Madhavi Mudgal a lot and among her students are Aditi Jaitly Jadeja, Anusha Lal, Kapil Sharma, Justin McCarthy, Navtej Singh Johar, Aditi Rao Hydari, Swara Bhaskar, Priti David, Araddhya Mehta. 2 MADHAVI MUDGAL was born to music teacher Pt Vinay Maudghalya and she grew in the institution he created in Delhi – Gandharva Mahavidyala, built by many well-wishers. She first learnt Kathak and partnered Durgalal but as there were no second generation Orissi dancers in Delhi (after first generation stars like Indrani Rahman, Yamini Krishmanurthy, Aloka Paniker and Sonal Mansingh) she took to Orissi under doyenne Kelubabu and developed it for group works with students and body of work. Her dance remains internalized, as critic Leela Venkatraman once described it. Pucca of rhythm and music, her dance has no spontaneous joyous manifestation but a guarded, clinical feeling. Her commitment towards teaching and transference has yielded a well- trained group within the Orissi dance aesthetic. She has choreographed extensively for small and large groups. Her brother is noted music composer-teacher Madhup Mudgal and sister in law is popular singer Shubha Mudgal .Some of these compositions are mentioned below with brief descriptions: • Ahvan / आव्हान: In this short invocatory item, the first eight hymns from India’s oldest scripture, the Rig Veda, are chanted, addressing the Primordial Fire - Agni - for purification and well-being. • Kaylan / क쥍याण: An item that salutes the divine omnipresence through an exploration of the musical spaces of the Raga Kalyan. • Akar Prakar / आकार प्रकार: As the name, Akar-Prakar, suggests, this item is a play of forms in space. Using the traditional units of dance vocabulary, the structure and combination of movements involving 5 dancers is given a completely different dimension in space. 3 • Sagarika / सागररका: Gurudev Rabindranath Tagore’s poem Sagarika, written aboard a ship on his return from Bali in 1927, is assumed to be an allegory on the Indian relationship with South-East Asia. • Pallavan / ऩ쥍ऱवन: 5 basic rhythmic structures (jatis) comprising 9, 7, 5, 4 and 3 beats, each of which yields its characteristic form, are visualized in this item. • Teevra Madhyam / िीव्र मध्यम: A translation of musical motifs into spatial ones, coming to rest on the note of teevra madhyam - a focal note that binds the various ragas of individual identity used in the compositions. • Sohamasmi / सोहमस्स्म: Translated, ‘Sohamasmi’ means ‘I am That’. This choreography explores verses from India’s ancient mystical text, the Ishopanishad. • Vadya Vaividhya / वा饍य वैववध्य: An abstract dance piece inspired by the variety of Taal Vadya of Orissa, percussion instruments such as mardal, khol, khanjani, ghanta and jodi-nagara. The dance utilizes the distinctive qualities of each instrument and converts the simple basic rhythms into sophisticated patterns of music and movement. • Kumarasambhavam / कु मारसंभवं: an excerpt from the great Sanskrit poet Kalidas’ Kumarasambhavam, which describes the coming together of the cosmic couple, Shiva and Parvati. • Vistaar / ववस्िार: Explores the Nritta aspect through the musical structure of the Alap, Jod, Jhala and the bandish (in this case the 4 Pallavi). The bols or arasas are woven within the Pallavi to highlight intricate patterns in rhythm and in space. • Ranga Stuti / रंग स्िुति : The stage, in Indian Aesthetics, is considered a representation of Universal Space, and is the source of artistic creativity. With verses from the Abhinaya Darpan, a 12th century compendium on the Indian dance, the dancers seek blessings from this creative space, personified as the deity of the stage. • Ganga Stavan / गंगा स्िवन: The sacred waters of the river Ganga are invoked as the eternal source of sustenance and rejuvenation. Descending from the peaks of the snow-clad Himalayas, through Shiva’s matted locks, Ganga playfully cascades down the mountains to purify the earth. Madhavi Mudgal’s main students are Bindu Juneja, Parwati Dutta and niece Arushi Mudgal. SHOVANA NARAIN completes the triumvirate of this generation of dancers, although senior in age. She is a case of dancer-cum-babu of accounts. She learnt from various gurus like Sadhona Bose in Kolkatta, Kundanlal Gangangi in Mumbai and then Birju Maharaj in Delhi. She had a slow and steady career in dance and her govt. job connections also helped get her shows far and wide. She is genial, academically inclined and research-oriented. She is very good speaker and best talent for lecdems. With her flair in several languages and dialects, she conveys essence of Indian dance very well. Her main students are Shivani Salhotra Varma, Mrinalini, Kartika Singh, Urvi Mishra and Ashwini Nigam (Moscow) 5 She started composing and creating early on and amongst her works are: 1973: “Ghalib ki Dilli / ग़ालऱब की दद쥍ऱी ” (Opera) The journey into inter-faith dialogue through verses started early in 1973. Performing to verses of Meer Taki Meer and Mirza Ghalib in the opera “Ghalib ki Dilli”, Shovana began her journey into essaying and delineating Urdu verses through the Kathak medium. 1974: Omar Khayyam: Memorial programme for Sadhona Bose at Kala Mandir, Calcutta.The script culled out from the works of Omar Khayyam reflected the transiency of life and the desire of each soul to be ultimately united with the universal soul. The script of Sadhona Bose was provided by her younger sister Naina Devi who desired that Sadhona ji’s only known young disciple, Shovana, should pay homage to the memory of her first guru, by performing two of her original numbers, one being Omar Khayyam and the other being The Street Dancer. 1979: Yashodhara / यशोधरा: Sacrifice of the wife of Lord Buddha (by Maithili Sharan Gupt.)Ever heard of a woman donating her son as alms to her husband who has become a ‘sanyasi’? What emotion does she experience when she is forsaken without provocation by her husband during the dead silence of night, who wishes to search for the Truth? 1980: “NEY: Bansuri” at the Bansuri Festival, Kamani (organized by Raag Rang of Naina Devi) For the first time Sufi couplets of Maulana Jalaluddin Rumi (‘Ney’) was performed on stage by any classical dancer. This programme also explored – again for the first time - 6 Sufi-Vaishnavism parallels through Verses of Rumi and Vaishnav poets Bihari and Surdas. 1980: “Yama”: Eternal pursuit is tinged with romanticism and humanism that touched the hearts and found expression in the poems of today what is known as the ‘chhayavaad / छायावाद’ period. 1981: “Nupoor” Shovana daringly presented an item highlighting various aspects of footwork, such as ‘ladis / ऱड़ी’, tihais / तिहाई’, ‘chalans / चऱन’, etc, so much a hallmark of Kathak, accentuated by lights only. 1981: ‘Nartaki Kavi Durbar Mein’. This piece explored the dialogue between ‘doha / दोहा’ (the self- rhyming couplet – e.g. Kabir, Rahim) and ‘choupai / चोऩाई’ (a quatrain verse e.g. of Tulsidas). But soon, both face the challenge of ‘mukta chhand / मुक्ि छंद’ poetry. 1983: “Dishantar” (ballet on environment degradation & associated social ills). 1984: “Kab Aogey Rama” Continuing the introspective journey, Shovana’s next quest was to study the meaning of the term ‘Ramatwa’.