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Home , Aruna Mohanty, Gangadhar Pradhan, Kelucharan Mohapatra, Madhavi Mudgal, Madhup Mudgal, Protima Bedi

PAPER 8

DANCES AND DANCE DRAMAS OF SOUTH EAST ASIA MASK DANCES OF SOUTH EAST ASIA /ASIA-PACIFIC COUNTRIES RESEARCH METHODOLOGIES FOR PERFORMING ARTS (DANCE) DANCE THERAPY

MODULE 24 DANCE EDUCATION

Since last couple of decades, there is tremendous development in all aspects of all classical dance styles of be it technique, methods of teaching, presentation, costumes, music, themes and everything. It is very difficult for a young aspirant to make a choice between the traditional and modern. How to find the midway is everyone’s struggle. To understand this process better, we look at contemporary developments in classical dance styles- namely , , Kathakali, Mohini Attam, Manipuri and Sattariya. We begin by looking at the eastern styles of Manipuri, Sattariya and Odissi, while the second part looks at the styles of Mohini Attam, Kathakali and Kuchipudi.

Some dance classical traditions are very strongly linked with living practices. Sattariya is one of them, recognized as a national form as recently as the year 2000. Despite the very fact that Sattariya was recognized as a ‘major dance tradition of India’ in atonement of decades of neglect of Assamese aspirations, the interventions on its ‘body’ continue. In Assam, those who are well informed of the sensitivities of the Sattariya culture, and are knowledgeable about

1 the fact that Sattariya is a living tradition and presently living a double life of being both a ritual and a stage art, hesitate to transgress ‘maryada’, despite the freedom that comes from a stage art, citing its ritual sensibility. They hesitate to use sahitya from a text other than that produced in the sattras, as its very nomenclature- Sattariya, belonging to the sattras- would result in disapproval and frowns. Thus, when the Sattariya Kendra presented the work “Chandalika” based on Tagore’s poetry, and choreographed by the senior most Sattariya teacher today and the recipient of the Padmashri and the Award, many critical voices were heard. But the Chandalika project was something that was done to mark the 150th anniversary of Rabindranath Tagore, and thus is not something one sees very often. Another effort that took literature from outside the Sattariya tradition was Anita Sharma’s work on the seasons in which she was inspired by Kalidas’ “Ritu Samhara” and took verses from Tagore’s literature. It once again created a similar buzz in Assam, but Anita’s potential and talent was recognized with the Sangeet Natak Akademi award.

There is another variant of creative work that is happening with Sattariya. In an attempt to project the richness of the Indian dance forms there has been a tendency to create a spectacle using multiple dance forms. Increasingly is Sattariya finding place in it. Guwahati based Sattariya dancer, Sharodi Saikia’s “Chaturang” comes to mind. A similar trend, less developed though, is the use of Sattariya’s texts and performance features being used by other dance forms. In 2013 for instance, based Sattariya dancer, Prateesha Suresh attempted that with dancers of Mohiniattam, Odissi and

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Bharatanatyam, interpreting the Borgeets of Sankardev. But as Sattariya is still at the stage of discovering itself for the stage, while there is creativity a plenty in this direction, there are few ‘contemporary’ works being attempted.

Even in the case of Manipuri dance, it has been a great challenge for Manipuri dancers to tamper with the tradition. However, Manipuri choreographers like based R.K. Singhjit Singh and his wife Charu Sija Mathur, Chao Tombi Singh, and the young non-Manipuri choreographer from Kolkata, Priti Patel, have extended the boundaries of Manipuri dance with contemporary sensibilities and themes. With the political life of the state ever being in turmoil, it is hard for one who represents the culture of the land to stay away from issues of violence, asymmetrical power equations and human rights. In “Nupi Lan’ – Women’s Struggle (2000) choreographer Charu Sija, has dealt with the element of female power that surfaces to save the families from starvation and exploitation. The role of the mothers in keeping Manipuri society safe is well known. They stay awake all night ensuring that no one makes nuisance after drinking. They fight against the menace of drug smuggling to which the young fall victim. And they keep an eye against human rights transgressions, in every which way they can. Thus the woman/ mother is a very strong image in Manipuri culture. Priti Patel in “Malem”, (The Earth, 1998) interprets the myth of Earth as mother and shows how it is used as commodity and destroyed. In another mythological story, “Nahal Nog” (2003), she interprets the challenge by the goddess of lightning, a metaphor for female force, to those who attempt to destroy the earth. In “Agni” (Fire), created in 2005, Priti Patel explores abstract concepts with an acrobatic dance

3 tradition. Choreographer Chao Tombi deals with a vanishing species of Sangai deer found on the floating islands of the Loktak Lake, in a ballet titled “Keibul Lamjao” (1986). These works are a far cry from the traditional all night dance-dramas like Rasalilas, the dances of Lord Krishna.

But possibly, the credit for looking beyond and incorporating different elements from the Manipuri tradition, to create a new, goes to the extremely brilliant and prolific, Bipin Singh. Initially his work was looked at with a certain shock value, and in hushed tones it was attributed to his Cachar based training, but today, Manipuri dance has achieved a pan Indian position largely due to his innovative choreographies. It must also be said that great masters of yore, like Guru Amubi Singh have acknowledged at various times his brilliance. He used from the many rich tala traditions of Manipuri to embellish pieces and also the various formations that one sees in the Raas dances and which even find mention in ancient texts including the Natyashastra, like ‘shrinkha/�ംखर ऱा’, ‘latabanda/ऱताबംध’, ‘bhedyka/भे饍यका’, ‘gulma/गु쥍म’ and ‘pindibandha/पऩംडीबन्ध’ to work artistically with groups. His “Krishnaroopvarnan/क्रिष्ण셂ऩवणणन”,

“Krishna Nartan/क्रिष्णनतणन ”, “Shukhasari dwanda/शुखसारी 饍वन्द”, “Khubak eishei/खुबक एइशइे ” are land mark pieces. He broke gender barriers and made the women play the pung, and built pieces around women playing the pung. In fact in “Anangakshep/अनംगाऺेऩ”, he gave Radha a strong voice as he chided Kamadeva to keep his arrows in check for she was not Parvati! Because of his path breaking efforts, today, young dancers do not shy away from deviating from the

4 tradition. They boldly attempt to bring in elements of martial arts, especially Thang ta, which quicken the pace and invest the form with a pulsating, throbbing and vital element of drama and energy.

In the case of Odissi dance, the entire dance form is a product of a creative process since it was reconstructed at Kala Vikash Kendra and other such centers in accordance mostly to rules formulated in the conclave called Jayantika. In the immense creativity that preceded the recognition of Odissi, it was Kelucharan Mahapatra, who raced ahead, as a result of his extremely fecund mind. This fact got acknowledged in the first Sangeet Natak Akademi award that was bestowed on him in 1966. Initially he was hesitant to use any other style, even from the many kinetic options available in itself, but while choreographing ‘Eklavya/एकऱव्य’ he incorporated Chhau, as he felt the martial overtones in the theme warranted its inclusion. He used it again in ‘Ardhanarishwara/अधणनारीश्वर’ and Ileana then carried forward this initiative in her “Maya Darpan/माया दऩणण”. The gateways of creativity having been opened by the first generation of of Odissi, today, examples of the creativity in Odissi abound.

Sonal Mansingh, created a whole range of work guided in her research by the scholar Jiwan Pani. She was inspired by Odisha’s Pala art to create “Sunayana/सुनयना” and “Sukuntala/शकംु तऱा”. She used her training in Odissi and Chhau to create “Jara/जरा” base on Sitakanta Mahapatra’s poem about the tribal hunter. From a popular folk tale she created “Kaluri Benta”, just as Madhavi created “Tapoi” from the maritime folklore of Odisha.

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One of the most important points of discord has been around the music of Odissi. So original ragas of Jayadev’s Geet Govind were re- introduced by , Hindustani music pallavis were created by great musicians like Pt. , in the Jasraj Pallavi for , in the many Pallavis created for Madhavi and Arushi Mudgal, by and even by Ramahari Das, the great composer in recent times. Madhup Mudgal also created the music for ’s path breaking choreography “Sohamasmi” that visually deconstructed the symmetry of Odissi and presented it in an off centre view. Even when it came to the percussion, the inclusion of the Dakhani/दखनी Mridanga in the aural scape of the percussion, created a conflict between Guru Kelucharan Mahapatra and his Kolkata based student , as the Guru felt that it was not within the ‘vidhi’ of Odissi. But again, most of Odissi was a creative effort, albeit, sanctified by the ‘Jayantika’ process.

Sharmila Biswas, a disciple of Guru , is a seasoned Odissi dancer with a well-trained group of dancers. A recipient of the Sangeet Natak Akademi award for 2011 for her contribution to Odissi, her studies of traditions of Odisha are replete with deep research. “Devi Bharani/देवी भरणी”, in praise of Goddess Sambaleshwari/सംबऱेश्वरी, is based on rituals and music of Western Odisha. Every year during the festival of Dussera, the Goddess’s spirit is evoked with ritual music, called Devi Bharani, which evokes a trance like mood. Sharmila’s solo interpretation of Shurpanakha’s character also bears her signature. Her depiction is different from the usual narrative of nasal disfigurement by Lakshmana. Instead she

6 has chosen to impersonate her as a royal princess and a woman in love with prince Rama. Her group composition “Gati Vilas/गतत पवऱास” is inspired by a verse commonly chanted by the rural mridanga players of Odisha described attributes of ideal performer comparing her gaits, stances and energies, expressions with those of different animals. Thus what is evident is that the parameters set by Jayantika are being rolled back.

The Deba Prasad dance gharana had Gurus like , Durga Charan Ranbir and Gajendra Pradan. Much of the significant work thereafter of this bani comes filtered by the late Guru Gangadhar Pradhan. It is being carried forward by and a host of male Gurus like , Bichitranada Swain, Lingaraj Swain and Manoranjan Pradhan in Odisha and Ramli Ibrahim in Malaysia. Bichitranada Swain’s “Taal Madhurya/ताऱ माधुय”,ण zesty and peppy, set on the bodies of five male dancers is an example of how the intrinsic ‘tandavness’ in ’ style is being explored. Ramli Ibrahim envisions creativity as a total experience, easily transcending national boundaries. With more than 40 original dance compositions in his repertoire- in both the traditional and contemporary idioms- he is a globally celebrated dancer. He draws inspirations from many influences. From the intense guru-shishya relationship that Gajendra Kumar Panda had with Guru Deba Prasad Das, he created “Adorations”. Ramli rejects compartmentalization. He believes that in classical, the folk and tribal must also come out. His production “Rasa Unmasked” has intertwined tradition with contemporary sensibilities.

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In his reworked “Dash Mahavidyas/दस महापव饍या” Ramli uses music from the East and the West. In some Pallavis, he has used Odissi traditional music but has deconstructed it, for resonant layering.

One of Gangadhar Pradhan’s youngest disciples was Bijayani Satpathy, Yuva Puruskar awardee, who has created a unique position for herself at ‘’ where she has worked consistently in creating a powerful kinetic and several new choreographies that have impressed locally and nationally, and especially the world.

One of the most significant of Gangadhar Pradhan’s disciple has been Aruna Mohanty, who went on to inherit a part of the cultural equity that was created by her guru. She has a demanding performance schedule and has yet found time to teach, choreograph and organize festivals. With the well trained male and female dancers of the Odissi Academy, she has aesthetic work on exploring Rasa through the Ramayan. Popular Odishan myths, and songs related to Lord are also some of the subjects that have fired her creativity. Some of her choreographies are employing lesser known traditions of Odisha and use dialogues and commentary in English to become more accessible to national and international audiences.

Independently, in Delhi which is fast becoming a significant centre for the growth of odishi, dancers like and , disciples of , Kavita Behera Dwibedi, daughter and disciple of Guru Harekrishna Behera, and Shagun Butani are producing significant work. As most run dance schools they are doing important group work. Kiran has created

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“Taalangika/ताऱाംगीक” and also worked on unusual poetry like that of Utkal Bharati, who hailed from the Bastar region.

Ranjana has worked on incorporating Chhau and odissi apart from poetry in where her recent efforts have been base on poetry about Hindi as the Rashtrabhasha, based on the poem of Mridula Garg. Kavita Dwivedi has worked on unusual themes like the idea of Moksha among the women from the Buddha story. Called “Shweta Mukti,” it celebrates the feminine glory of Nirvana. The poetry for this was from a variety of sources, in a variety of languages and included some freshly written poetry by litterateur and scholar, Kedar Mishra, with music by the iconic Ramhari Das. In Odisha today scholars and litterateurs are helping in guiding new work. Apart from Kedar Mishra, the role of Nityanand Mishra is also noteworthy in this direction. Shagun’s work often uses another style, especially Chhau. For instance, in her choreography “Oppositions”, she has used Seraikella Chhau and Odissi, to explore the sheer joy of abstract movement.

In Mohiniattam, the contributions of the mother daughter team of and Vijaylakshmi is noteworthy. Vijaylakshmi’s most recent and outstanding choreographic work has been Swan Lake, based on the celebrated composition of the great Russian composer, Tchaikovsky. This choreography has not only added a unique dimension to the repertoire of Mohiniyattam, but has been one of the first attempts of its kind in the genre of classical Indian dance as well. Some of her other recent productions have been “Unniarcha”, “Parayapti/ऩरयाप्ती” and Bhanusingher Padavali/भानुससघം ेर ऩदावऱी . Music has been one of the pillars holding up her work. She has also

9 worked on costumes and so for Unniarcha she not only used a vocabulary inspired by Kalaripayattu, but converted the regular skirt costume into a dhoti type of costume to effect those movements in. Parayapti was her tribute to the marginalized women of Bengal, and she created a moving aural landscape by using various Bengali folk instruments such as Dhaak and Dhol (used during Durgapuja) with Madhalam, Edakka and Mridangam. Bhanusingher Padavali was her tribute to Tagore, on the eve of his hundred and fiftieth birthday. In Parayapti she made use of the traditional style of wearing Sari of Bengali women on top of her Mohiniyattam costume. In Bhanusingher Padavali her Krishna wore an innovative costume, designed by Momm Ganguly that had been inspired from Kathakali. In 2013, Vijaylakshmi created a new choreographic work titled “Rain” using Tagore’s poetry that follows a slow pace, ideally suited to Mohiniattam’s kinetics.

When it comes to Kuchipudi there is not much startlingly modern work happening, just more of the same. Unless you count Shantala. Shantala Shivalingappa is a young Kuchipudi dancer brought up in Paris, the daughter of the Bharata Natyam dancer and teacher, Savitry Nair, and trained by . Her traditional work is marked by musicality, the power and precision of her footwork, and the absolute clarity of her movements. In “Swayambhu/स्वयംभू’ for instance, she sings herself as well. And to the grace of her upper body and a jump that seems to come out of nowhere, light and airy. She has also worked with Pina Bausch’s Tanztheater Wuppertal, which she joined in 1998. Her mother exposed her to contemporary theatre and dance at a young age, and

10 she has explored it more and more over the years, working with Sidi Larbi Cherkaoui, Peter Brook, and Ushio Amagatsu, among others. Shivalingappa performed in Bausch’s Nefès and Bamboo Blues, and O Dido, and for a few years, she also danced in Sacre du Printemps.

She has also performed evenings of contemporary solos created for her by Bausch, Ushio Amagatsu, her mother and herself. Regrettably, in India Shantala is dismissed as being a western dancer for her international work.

When it comes to Kathakali, most would agree that Kathakali is not a dance form. It is not a dance-drama but a theater form, in which we use dance effectively. Dance is used to express emotion each time. But in the modern impulses of Indian dance, Kathakali has played a stellar role. Some of 's famous works include movements patently inspired by Kathakali. But today, some of the more interesting contemporary work in Kathakali is happening internationally. Peter Brooks used Kathakali as one of the art forms in his multi-cultural theater production of “Mahabharat”. France based dancer and choreographer Annette Leday belongs to a generation of foreign dancers who trained deeply at Kalamandalam almost 40 years ago when she trained in as well as Kathakali. Today, Annette Leday is a director and choreographer who specializes in inter-cultural contemporary creation, with a focus on the dance and theatre traditions of India and France. She then spent several years in rural Kerala, practicing and performing Kathakali with the Sadanam and Kalamandalam institutions. She initiated and participated in the translation of seven Indian contemporary plays into French for the India Scene project. Her Keli Dance Company

11 produced the original King Lear in Kathakali, and translated and adapted the Shakesperean play for Kathakali in 1989 and it toured the world till 1999. Later in 1991 she crated “La sensitive” based on Shelley’s poem “The Sensitive Plant”. She used the Kerala ritual of kolam ezhettu or the destruction of the kolam as a metaphor in it.

In 1994-95 she created “Trans Malabar” using Theyyam in addition to Kathakali. Theyyam was well suited as the work was against gender abuse, and theyyam is the stylized return of the goddess. Her recent work also includes Mithuna/समथुन that she premiered in India during the Ignite festival of 2015 and featured French dancers and Indian Kathakali dancers. Annette saw Mithuna as the conjunction of diversities, and their fertile seeding.

Thus work pushing the boundaries of the established forms is happening at all times and in many ways - Sometimes with themes, and at other times with the presentation. All in all, it goes on to prove that the tradition is not a fixed one and is constantly reinventing itself and taking on new challenges.

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