It is not a big secret that Bharatanatyam competitions, however faulty they may have been, are very beneficial. Regardless of who wins and who loses, these competitions help the dancers assess their skills on a more objective level. They establish the standards and create the fabric of the dance community.
Few may have noticed that the Indian Fine Arts Society cancelled their Bharatanatyam contest this year, following Natyarangam’s, Music Connoiseurs’s Club’s, Gana Mukindhapriya’s, and others (e.g. ISKCON’s). We know no reasons for their decisions, no explanations or comments are given by these organizations. Perhaps it is a top secret.
What is not a big secret is, for example, the reason for the 2009 abortive straight-jacketed ABHAI competition where the dancers were severely restricted in what and how they can perform, obviously to suit the ABHAI’s president’s own agenda, as if it was some third-grade contest on Rukmini Ramani’s compositions which nobody attends.
Apart from the Music Academy (Spirit of Youth, very closely resembling Indian Fine Arts Society’s style of handpicking just 10 contestants) or National Bal Bhavan, among the other people who keep conducting Bharatanatyam contests it in Chennai are the TTD. These never announce it (perhaps for fear of their tiny space being overcrowded).
Unfortunately, the Bharatanatyam competitions they conduct are hugely inferior to the Kuchipudi competitions featured on their own SVBC TV channel where the judges are required to substantiate in detail their marks and provide comments on each item performed by the contestant.
See for yourself:
The reason the judges there are more or less honest and try to do their best is simple: they are well aware that their very reputation is at stake since tens of thousands of TV viewers watch the programme.
There is no comparison between the professionalism of the SVBC contest (where we can actually watch the entire classical Kuchipudi items performed by the dancers) and such TV contests as Jaya TV’s Thaka Dhimi Tha or Podhigai’s Konjum Salangai where we can at best see some bits of folk or fusion dances. The only thing we have worth watching on TV is Jodi No.1.
A Telugu friend of mine teases me from time to time, saying that excellence in classical dance or life in general quit Tamil Nadu long ago. Even in Kerala they have very well organized (where the dancers have the option of an appeal in case they are not satisfied with the judges) Kalotsav (www.schoolkalolsavam.in) featuring all classical dance styles, while there is nothing like that in Tamil Nadu.
Now, with so many sabha’s in Chennai claiming that they somehow are not responsible for the decline in the standards in Bharatanatyam, why is it that they they cannot organize regular Bharatanatyam contests and broadcast it easily on the biggest TV channel in the world, YouTube, allowing the viewers to discuss it and post their comments there? Of course, then the sabha’s hidden political agendas may suffer.
Perhaps they may be awakened to a new reality when Anita Ratnam decides to do it on Narthaki one day.
She got the first prize in Mohiniyattam at Kerala’s school youth festival and went on to get Balasri as Mohiniyattam dancer too. Curiously enough, Madhavi Chandran failed to get anything in Bharatanatyam at both events. Who would have expected the Music Academy’s committee to award her the first prize of their coinage? But miracles happen, especially if the young shrewd girl says she aspires to do her postgraduate studies not in dance but in… political science, following the path of Jayalalitha and Rukmini Devi.
In order to reduce the audience who may wonder by what miracle just 10 contestants were “shortlisted” out of 400 applicants, the schedule of the secretive Spirit of Youth contest is no longer published anywhere, nor the names of the judges are made public. What is announced, however, are only the “results”: the title “winner” (the highest bidder). Like the voting results in the Ivory Coast, the organizing committee, it seems, has overruled the judges’ secret marks. The judges don’t know how their marks were counted, or who counted them. Moreover, if the marks were made public, the judges would risk losing any remnants of respect in the dance community.
Here is a convincing and simple proof of criminal negligence of the editor of Narthaki.com, and the illustration of the level of corruption (and a total lack of professionalism) at the Madras Music Academy’s dance competitions:
“Madhavi Chandra, a student of Bharatakalanjali (The Dhananjayans) and Regatta Cultural Academy, Thiruvananthapuram ( Girija Chandran), has won the prestigious Madras Music Academy’s BEST BHARATANATYAM ARTISTE AWARD (Spirit of Youth award) for this year. She will be performing on the inaugural day of the Madras Music Academy’s annual Art festival 2010-11.”
The well-known fraudster V.P.Dhananjayan, whose MBA degree helped him to set up a mass production of half-baked “Bharatanatyam” (utterly stupid NRI and outstation dancers whom he “teaches” a few days in a year in a fake “gurukula” system), does not have time to teach them even correct mudras!
Bharatanatyam competitions, Concern India and political correctness.
We will analyze and comment upon a curious write-up by Meenakshi Ganapathy that appeared in Roses and Thorns and was evidently irritating some dance VIP’s for 3 weeks. So much so that it was just recently deleted (luckily, Google saved a copy of it 🙂 ) by the politically conscious Narthaki.com editor. We will also refer to the excerpts from the messages several people sent us about this event.
The competition started a bit late, with probably 30 spectators most of whom later appeared on the stage: the functionaries, the judges, the musicians, the parents, fellow dancers, and a few stray individuals in Narada Gana Sabha’s main hall.
The competition was not announced in the press. A private event?
A representative of Concern India made a brief introduction, dwelling on the NGO’s work and urging (the 30 spectators?) to contribute to its charitable activities and sponsor Bharatanatyam performances.
Each participant in the preliminary round had to pay Concern India Rs.3000, making it one of the most profitable Islamic charitable activities in India. Of course, Concern India themselves do not sponsor any Bharatanatyam-related performances. Why? Well, why would the Muslim man who was in charge of organizing Concern India’s Bharatanatyam competition in Chennai be seriously interested in promoting Bharatanatyam instead of trying to make even more money (“raise funds”) from dwelling on the necessity to addresss the material needs of the poor Indians. Forget about the Vedic culture and the Hindu spirituality. Allah akbar! Next time if some senior Bharatanatyam dancers organize a psalms recital contest, don’t be surprised.
The dancers, 95% of whom arrived on motorbikes, many of which had 3 riders, have had a hard time trying to sponsor themselves, as Concern India‘s Bharatanatyam competition required them to be able to afford to bring a live orchestra for the solo recitals. Remarkably, the group performances were miraculously exempted from this highly charitable requirement.
The group performances hardly had to do anything with Bharatanatyam.
Before the competition started, a representative of Concern India announced to the dancers that after each solo performance “the judges would speak, give their comments and ask the dancer questions.” The judges in the final were the same (!) as in the preliminary round: Madhumati Prakash, Rajashree Vasudevan and Dakshayani Ramachandran. Why they could not produce any comments on the solo recitals is up to you to guess.
We guess they are just dumb! 🙂 Or just afraid of the political repercussions. The fact that Concern India could invite such a sec0nd-rate dance guru as Rajashree Vasudevan speaks of the profile of the competition.
The preliminary 3-day elimination round held in November promoted, according to Chitra Visweswaran, “quite a few dancers” (she probably meant the number of the dancers in the groups) to the final competition held on 23 January. At the preliminary itself, out of the astonishing 10 applicants in the sub-junior (below 10) division, only 2 were deemed worthy of dancing in the final: Simran and Aishwarya Raman (of guru Divyasena). It was Simran who danced the first on 23 January, and it was Simran who got the 1st prize. As you could have already figured out, the second prize went to Aishwarya, who was so significantly less impressive that led to the humorous speculations that the first prize winner could have been decided upon in the preliminary round itself.
It’s a great idea to have a competition where there are 2 contestants in the finals and 2 prizes! 🙂 Curiously, Simran and Aishwarya met at another competition with the same outcome.
The two solos of the youngest contestants were followed by a most baffling mix of solos and group performances in no special order. Was it indeed on a “first-ready first dance” basis? Shuffled like a stock of cards, the order of these performances was presumably to confuse the judges so that they would not be able to remember (for any meaningful comparison) the performances of the contestants in the same age division. Of course, the order did not matter if the prize winners were determined in the preliminary round itself.
The third was Poornima (of Anusham group) who was quite proficient in her rendering of “Padma Ananda Dayinee,” especially in the passage describing how the snake’s poison was coming down in ashes. Sudharma Vaidyanathan (of guru A Lakshman) was dancing leisurely and error-free, mostly due to the fact that the choreography itself was not at all intricate or demanding. The more plain, the better? Nevertheless, she was somehow allocated the second prize in the junior (11-14) division, which had another 3 contestants beside her. A very “big” competition indeed.
More and more people come to know Sudharma as the daughter of Chella who does all videography for… the judges who… like A.Lakshman very much. 🙂 Leaving the sarcasms aside, Sudharma was a remarkable dancer 2 years ago, and was the only one in A.Lakshman’s school who was dancing with grace. Unfortunately, the health problems and A.Lashman’s Kalakshetra-like schooling left very little of the former – graceful, lively and expressive – Sudharma… How fast life changes us… Not to the better…
The stiff-bodied and frozen-faced girls who want to dance like a man, or rather like a soldier (with the marching soldier’s expressions attached, of course) will like A.Lakshman as a guru. What happened to K.J.Sarasa’s “Vazhuvoor style”? Well, just as she did not want Urmila Sathyanarayanan to unlearn the Kalakshetra style, she just let A.Lakshman to do his version of Kalakshetra too.
Curiously, the solos in the junior and the senior (15+) divisions were supposed to last for 10 minutes each, but some dancers were – for an unknown reason – allowed to dance for over 15 minutes, while other dancers’ performances were cut immediately after 10 minutes had elapsed, by completely switching off the stage lighting. Sudharma’s was followed by Divyasena’s group performance of some kind of fusion or modern dance. The group’s 11 dancers found it a bit hard to move (leave alone dance) when lined across the stage in one row. The smallest, Aishwarya Raman, was given the central role, although Nikita would have certainly been a better choice.
Next there was Subbalakshmi of Anusham. She surely did deserve her second prize in the senior division for her impeccable rendering of Shakti Kautuvam and a thillana, leaving some contestants wondering why they had not been told that they too could include 2 fragments rather than one continuous passage from one item. The 7th slot was Revathi Ramachandran’s ballet full of folk dance, Dayinee. Out of the 5 dancers, the only one worth mentioning was Darshana.
The status of Concern India’s competition is illustrated by the fact that Revathi Ramachandran’s own daughter did not even bother to apply!
It was followed by Sai Swapna’s (of Anusham group) recital. It was already 7.30pm, and the auditorium was filled by at least 200 people by that time.
Next there was S Sahana’s (who recently joined Roja Kannan’s school) impeccable performance of the varnam “Nee Inda Maye.” Sahana had a mobile face and smooth expressions that changed each other seamlessly and naturally. Her style of nritta was very crisp. Every simple nritta step involved a visible and sharp movement up and down, which was well coordinated with the movements of her chin, her eyes and eyelids. Sahana was given the first prize (just as in the 2008 Natyarangam’s competition) in the junior division.
“Oddly enough, in the Concern India competition the first was again Sahana and the second was Sudharma”.
If you are looking for a perfect Kalakshetra-style dancer, see Sahana 🙂 In other words, if I am to write about a Kalakshetra-style dancer, it will be her. This virtuoso is capable of moving from the super-sharp movements to the ultra-smooth, and in this sense her range of movements is extraordinarily wide. Even if some dancers did not like her hopping manner of walking on the stage, such sharp vertical up-and-down movements actually accentuated each beat of the cymbals, and kept the audience spellbound. Compared with her, the other dancers dance as if they were trapped in a quagmire! 🙂 Her neck moves very interestingly too.
Perhaps she deserved it. Or perhaps it should have been given to the 10th contestant, Harinie Jeevitha, who attempted a much harder job to do as she was performing very demanding nrittas, peppered with the most complex moves and karanas that one hardly ever gets to see in Chennai. Well, Harinie’s performance was not as error-free as her videos on YouTube would suggest: the sheer complexity of this highly demanding choreography requires more practice.
It should have been clear that any inclusion of karanas in the choreography will be considered as an error! This is the reason very few Bharathnrithyam dancers ever participate in the Bharatanatyam competitions. The 3 judges have never even read the Natya Shastra, leave alone attempt to do some difficult karana!
Funny enough, if a CCRT scholarship examinee recites the viniyogas in the Natya Shastra-prescribed way, it will be counted as a mistake, because the folkish “Bharatanatyam is supposed to be” performed according to Abhinayadarpanam, not according to Natya Shastra. This is how our “classical” dancers betray our ancient heritage – and they have the cheek to praise the Natya Shastra in public at the same time! What a hypocrisy!
Sridharini in the senior division (of guru Revathi Ramachandran) was the 11th participant, and she proved that even the worst contestant can still get the first prize. Her performance was followed by Anusham group’s fusion dance dedicated to Shiva and Shakthi, where one dancer, Sulochana, deserves a special praise. The masala fused together modern dance, Bharatanatyam, Odissi and god knows what else. The 13th was a very decent recital by Shivani (of guru Revathi Ramachandran) who was placed the 3rd in the senior division. The 14th was Padmaja (of guru Divyasena) in the junior division who presented keertanam “Om Kara Karini” in a graceful manner, although the skirt costume limited the scope of her nritta. It was the same K.Padmaja who was awarded the 2nd prize at the Indian Fine Arts Society’s competition 2 weeks ago. The competition’s last solo was a very interestingly choreographed Sadaksharam kautuvam performed by the 16-year-old Sruthi Kalyana Sundaram (of guru Manimekalai Sharma), ably assisted by excellent beats of the mridangam. The choreography was very sophisticated and involved frequent use of fast, full-range attamis that blended harmoniously with everything else. Sruthi was masterful in her presentation, and stood above all other contestants in the senior division. Unfortunately, guru Manimekalai Sharma is hardly known even in Chennai.
Last year I wrote about Sruthi in this post. Despite some minor imperfections in her mukha abhinaya, she is surely one of the top dancers in her age range, and the originality of Manimekai Sharma’s choreography could certainly not be appreciated by the 3 dumb judges who are considered as some of the worst choreographers in Chennai.
As recently as 3 years ago Sruthi was listed among Srekala Bharath’s students. So, what happened, may we ask? A possible reason may be that Srekala’s choreography is relatively plain, maybe too plain for Sruthi’s taste, but would be just fine for the 3 dumb judges who would be just scared of Srekala Bharath’s political authority too. Will you trade an opportunity to learn some interesting Bharatanatyam from an unknown but talented guru for an opportunity of winning a useless prize? 😦 Most dancers would not… 😦 Well, it seems even under Madurai.R.Muralidharan she was quite a performer even 5 years ago:
SN’s was the last group performance that had a larger share of elaborate Bharatanatyam proper than the previous groups’ items. Most of the dancers, among whom was Harinie Jeevitha again, were admirable, the costumes and accessories were very impressive. Not surprisingly, SN got the 1st prize for its ballet. It was also not surprising to hear one of Concern India’s representatives explain that, “ethically speaking,” it would be wrong to give more than 2 (out of the 4) first prizes to the same school.
The award function started at 9.30. There was a speech by Chitra Visweswaran who was praising the efforts of Concern India and was urging everyone to support its activities. It was quite different from a “speech” by a differently abled gentleman from Concern India when the audience could not understand a word.
“Helping people help themselves” ran the slogan through a huge backdrop just under ‘Concern India.’ How helpful was this competition for the dancers? And how seriously was Concern India taking the dancers’ concerns? If fewer and fewer Bharatanatyam schools care to come and showcase their best students at Concern India’s competition, does it reflect how much importance the dancers attach to this event? Well, if the Blue Cross, Coca-Cola, the Communist Party of India, or the ICICI bank were to hold their own Bharatanatyam competitions, how many dancers would apply?
In the past 10 months as many as 85 (!) visitors to my blog bombarded me with their messages, writings, links and requests to post articles on various upcoming Bharata natyam dancers of the younger generation. As most of these visitors asked about Harinie Jeevitha , we decided to dedicate some space to this famous teenage virtuoso who not only reached the heights of popularity among Chennai rasikas and Bharatnatyam dancers but became ubiquitous on the Internet – even more than Medha Hari.Apart from various blogs mentioning Harinie, such as this one, Narthaki.com recently published another review of her recital (there was one last year) which we will quote and comment upon first. Following Sangeetha’s example who prefers simply to re-post what she finds elsewhere…
Well, tomorrow, we will add more comments and try to find out what makes her so successful.
Why do most dancers performing in early January see nearly empty auditoriums? The 7th of January offered 11 dance programs (apart from quite a few music concerts) taking place at the same time. There were solo Bharatanatyam recitals by Malini Srinivasan, Priya Venkatraman, Suma Mani, Shradha Balu, a ballet by students of Ranganayaki Jayaraman, a group performance by students of Parvathy Mohan, another by the students of Swaralaya, yet another by dancers of Bharata Kalanjali, a Kuchipudi recital by Deepika Reddy and
an Odissi performance by Sujata Mohapatra. The 11th dance program was a Bharatanatyam solo that, surprisingly, attracted over 150 rasikas to Rama Rao Kala Mandapam who came to watch a recital by Harinie Jeevitha, a student of S.U..
Whenever any big Bharatanatyam school’s best dancer is performing, the hall is never half empty. What is surprising about it? Some rasikas who went there told us that there were just a dozen of foreigners.
Harinie’s opening item, Ganesha Kautuvam in ragam natai and adi talam, was full of refined sculpturesque poses, intricate movements and high jumps that her supple body performed with ease, delineating each curve and bend with precision. While many dancers hardly lift their heels or hardly lift their feet while doing fast steps, Harinie’s feet moved fully and sharply, making her salangai produce a variety of sounds.
The next item was Annamacharya’s kirtanam “Vande Vasudevan” in sri ragam and kanda chapu talam, where Harinie’s expressions brought out the depth of bhakti and the devotee’s perceptions of the Lord. Varnam “Aadal Nayagam” composed by Madurai R. Muralidharan in kalyani ragam and adi talam, was full of difficult adavus where Harinie accentuated each beat with sharp movements of her chin and her eyes. Each jathi was choreographed in a distinct manner.
Srinidhi sent in her comments: If many say that Madurai R. Muralidharan has reached the bottom of his career, it is because of the primitive music and very poor lyrics of pieces like Aadal Nayagam. Incessant repetitions and paucity of substance make it even worse! Why should good musicians and dancers try to salvage his poor compositions?
The varnam had a lot of surprises for the spectators in its complex and
fast nritta passages that contained a large number of the most difficult karanas. “The karanas are here not merely for a spectacular aesthetic effect,” commented S.U., “they are here to evoke the spirit of Nataraja.”
As you could read in our previous posts on the karanas, they also mark the difference between the folkish Bharatanatyam and the classical (Natya Shastra-based) Bharatanatyam. The biggest challenge a choreographer may face is the use of the karanas in a Bharatanatyam piece, therefore most gurus just don’t bother.
After all, even Padma Subrahmaniam made many mistakes, one of which was promoting herself instead of promoting her best students who could perform the karanas far better than Padma. Janaki Rangarajan did appear a few times in Padma’s Karana Prakaranam DVD – to illustrate a few most difficult karanas.
Another, Karana Viniyoga Mallika DVD failed miserably in this regard too, as the late Sundari Santhanam could not perform any karanas fully and gracefully, and did not let her best students do more than 40% of the demonstrations. Shouldn’t the art be treated as something greater than some “senior” dancer’s personal vanity?
99% of the Bharatanatyam students are totally incapable of performing the more demanding karanas, so why torture the poor students?
Padma Subrahmaniam writes, “The Nritta Karanas can be broadly classified as those pertaining to graceful dance, those meant for acrobatic display, and others for buffoons”. Can acrobatic karanas can be performed gracefully? Of course: only if you are in top shape!
Padma Subrahmaniam‘s disgraceful “demonstration” (which looks more like madcap buffoonery) of Vrscikakuttitam in the 3rd volume of her book is of course the proof of her poor judgement and the miserable state of her body. It is the explanation of why she is not particularly popular among the Bharatanatyam dancers – and the DMK politicians who recently took back from her the land Ms.Jayalalitha (K.J.Sarasa’s student) gave her.
Perhaps Lord Nataraja himself through Mr.Karunanidhi’s action was laughing at Padma Subrahmaniam, showing that dancers do not need to waste their time on useless political and social activities.
These fast changing difficult poses and acrobatic karanas require extraordinary balance and raised a storm of applause every time they were seen. However Harinie should polish some passages before presenting them on the stage, as freezing in a difficult static pose right in the middle of a very fast paced passage is a tremendous challenge to any dancer.
Speaking of karanas, surprisingly, the YouTube video gives the impression that S.U. has succeeded in choreographing and Harinie Jeevitha in handling the karanas in a harmonious and organic fashion indeed. S.U. did not repeat Sundari Santhanam’s mistake: instead of dancing herself, she let Harinie Jeevitha do it! 🙂
The theermanams themselves contained only 3 steps, much fewer than the average, much to the delight of those rasikas who cannot digest the ornamentalism of Shobana’s overstretched 20-step-long theermanams. Actually, Aadal Nayagam’s theermanams themselves did not end in the customary manner but with a brief scuplturesque sequence of nritta.
Papanasam Sivan’s “Ka Va Va” in varali ragam and adi talam was the fourth item. It began – and ended too – with portraying a devotee eagerly waiting for the Lord to appear. It was a pleasant surprise to see such a young dancer convey the spiritual significance of such spiritually significant passages faithfully. Harinie’s abhinaya, with a rich palette of bhavas, was candid and touching. She was the very embodiment of Shiva’s nature in the scene of Shiva burning Manmadan. Her long fingers lent an exquisite artistic touch to each “plain” action.
While Harinie was portraying a devotee pleading with the Lord, each repetition of the same line brought about a visibly different variation in her abhinaya. Some passages were performed with a childlike abandon and innocence, which was particularly handy while portraying delicate coyness. Such uninhibited abhinaya has the power to convince and move the spectators’ hearts and minds. She was masterful at drishya bhedas, her eyelids impeccably following the tune and the rhythm. She moved smoothly and effortlessly between the semi-standing to sitting positions, without any unnecessary moves.
The concluding item was Dr. M Balamuralikrishna’s thillana in Kathanakuthukalam ragam. It was full of complex nritta and sculpturesque poses. Harinie’s long and
flexible fingers assumed the impeccable nritta hasthas at the right moments. Her mukha abhinaya was in harmony with the movements of her limbs, her face sparkling with myriad harmonious and spontaneous expressions. The thillana ended with a “trademark” pose characteristic of the dancers of SN. One of the rasikas, Bharatanatyam dancer Anita Sivaraman (granddaughter of Papanasam Sivan), concluded, “Harinie is obviously an extremely talented dancer.”
A recent Bharatanatyam recital by Harinie Jeevitha was attended by the rasikas filling a third of the Narada Gana Sabha’s Mini Hall in Chennai. The recital, organized by Kartik Fine Arts, who are noted for their efforts in picking up the young Bharatanatyam talents.
The items in this Bharata natyam recital
The invocatory item was in ragam Amrita Varshini and Adi talam. Harinie’s long and flexible fingers assumed the impeccable nritta hasthas at the right moments, lending the jathis the additional charm. Harinie’s mukha abhinaya was attuned to the movements of her limbs, her beautiful face sparkling with a myriad of harmonious and spontaneous expressions of the exuberant danseuse. Harinie’s nritta and nritya were full of refined sculpturesque poses and movements that her supple body assumed with ease, delineating each curve and bend with a high precision.
One peculiar movement, resembling a chari in Padma Subrahmaniam’s interpretation but with a higher amplitude, was the sideway swing of the outstretched leg in a graceful manner. This peculiar move left some viewers wondering how many dancers would be able to perform it as gracefully, highlighting the visual beauty of Bharatanatyam.
Harinie was fast and neat in executing the pirouettes, lifting high her knee sideways. Sitting in araimandi in a Vinayaka pose, she was able to jump forward and backward effortlessly and keeping good balance, something that few dancers are capable of doing nowadays.
Professional dance photographers, who complain they usually have to discard most of the photos they take as “not quite beautiful”, would quickly notice one unique point about Harinie: it would be very hard to find a bad photo of hers.
Photos are always a problem for 99% of Bharatanatyam dancers!
Dominique Mong-Hune, while explaining why Priyadarsini Govind’s posters wisely use the spectacular photos of other schools’ dancers (actually, not just Priya but many Bharatanatyam schools worldwide), wrote here:
“No need for her to compare to a young “prodigy” of SN who has still years to mature her already perfect technique”
Perhaps he used “to mature” as a euphonism to “grow old”! If the technique is “perfect” (well, who is perfect?), it’s fine. As for “maturity”, if it means “adequacy” or “accuracy” in the presentation, some children understand the deeper, spiritual things and express them in a far more genuine, spontaneous, pure and natural way than all the thousands of “mature” dancers who can express adequately only the ordinary human experiences and who appear vulgar parodist when they attempt to express the spiritual things.
The varnam Sakiye by Tanjor Quarted in Ananda Bhairavi ragam followed. It was in Adi talam too, just as the rest of the items. Harinie commenced it with a series of difficult adavus, accentuating each beat with sharp movements of her chin and her eyes. The circular torso movements immediately preceeding the theermanams were performed with a larger amplitude than usual, which underlined the agile danseuse’s skill. However, the theermanams themselves contained only 3 steps, much fewer than the average, much to the delight of those rasikas who cannot digest the ornamentalism of Shobana’s overstretched 20-step-long theermanams.
After the first jathi was over, one regular rasikas noted that, although the vocalist sang a “pidi”, a more complex pattern not normally used for a Bharatanatyam accompaniment, Harinie was nevertheless able to follow the undulating tune effortlessly and faithfully, which also highlighted the responsiveness of her mobile and agile limbs to the music. When asked what helps her in perfecting laya, Harinie said that it was to her vocal classes.
That’s an interesting point about “pidi”. If I understand it right, it denotes a sliding manner of vocal music when the vocalist dwells in the microtones area, the “notes between the notes”, much longer than normal. If it is already a great feat to make one’s body responsive to each note, how much harder is it to make it react to the microtones!
While Harinie was portraying a devotee pleading with the Lord, each repetition of the same line brought about a visibly different variation in her abhinaya. The passages like “please bring it to me immediately” were done with a childlike abandon and innocence, which was particularly handy while portraying delicate coyness. Such uninhibited abhinaya has the power to convince and move the spectators’ hearts and minds.
Harinie was masterful at drishya bhedas, her eyelids impeccably following the tune and the rhythm. She moved smoothly and effortlessly between the semi-standing to sitting positions, without any unnecessary moves.
The second jathis in her Bharatanatyam recital made a friend of mine wonder if it was borrowed – almost in its entirety – from another varnam of S.U.. As it turned out to be, it was indeed taken from varnam Senthil Mevum, which raises the question whether a choreographer can simply recycle entire sets of jathis and re-use them again and again, even if they have proved to be a big hit.
One could not help observing that Harinie’s jathis perhaps needed a larger space than the 10-feet-wide stage of the mini hall. Harinie was elegant and refined in every move, whether she was taking rose water or grinding the sandal paste, her fingers lending an exquisite artistic touch to each “plain” action, although her renderings here were certainly not as elaborately perfect in this regard as Alarmel Valli’s. However, Harinie’s depiction of the mischievous Krishna, for instance, or the mood fluctuations from grief and back to joy were rendered smoothly and masterfully.
The third item was a padam by Uttukadu Venkata Kavi in ragamalika. Here, the danseuse masterfully, and somewhat playfully, portrayed the contrast between Murugan’s 12 hand versus the devotee’s 2. Harinie’s long and mobile neck moved very gracefully, along with the opening and the closing of her eyelids, in the depiction of the peacock. She was elegant in her detached portrayal of the evil powers in the episode that says, “As long as Muguran is with me, no evil can harm me”. Harinie’s abhinaya in “I have only 2 hands to receive your blessings, while you have 12” was very overwhelmingly candid and touching, almost materialising the images of the scene. In this scene Harinie’s childlike disappointent with the received gifts was charming and brought a smile on the rasikas’ faces, just as in another scene, when she was contrasting Murugan’s greatness with the devotee’s smallness. It was a surprise to see such a young dancer to be so mature as to convey the spiritual significance of such passages faithfully.
The fourth item was a thillana by Dr.M.Balamuralikrishna in Kathanakuthukalam ragam. It was choreographed in a very original way and performed in even more original manner, fully of complex nritta and rare sculpturesque poses. It ended with a “trademark” pose characteristic of the dancers of SN.
While Harinie was certainly very impressive in her recital, a trained eye could see that there are of course some areas she should pay more attention to. So, for instance, while her pirouettes maintained a vertical axis in the fast movement, she had some difficulty maintaining the balance in the slow turnarounds. Freezing suddenly in an absolutely static pose in the middle of a very fast-paced thillana is a tremendous challenge to any dancer.
Can we expect the araimandi level to be very steady, and not undulating, even when the dancer gets somewhat tired after dancing for 40-50 minutes continuously? Another question is, can we, or rather should we, expect a 13-year-old tender and delicate girl to be able to realistically portray a demon or a warrior, considering the fact that, typically, a danseuse who has achieved mastery in the tandavas is no longer capable of rendering the delicate lasyas?
The dancers can and should learn by watching other dancers’ performances too. Had Harinie stayed in the hall after finishing her slot and watched the next dancer’s recital, she could have learnt that mastering a wide range of tempos is far easier to achieve than mastering a wide range of accelerations and decelerations, which becomes very prominent particularly in rendering different varieties of lasya.
One of the rasikas observed that the spectators too should be praised for braving Chennai’s traffic during the rush hours. “It takes the same time to go from Tambaram to Alwarpet as it takes from Toronto to Detroit, one rasikas complained. In such a situation, it is no wonder that more and more spectators prefer to watch Bharatanatyam recitals – as well as competitions – on TV.
The Bharatanatyam TV competitions conducted by Jaya TV and Doordarshan are increasingly popular, and it is no wonder the Harinie won the first prizes there too.
YouTube has this one to offer:
Neither live programmes nor television can stand comparison with the emerging medium of the Internet.
We were surprised to hear Harinie’s proud classmates revealing that her Internet videos receive lakhs of views per year.
The 11-year-old child prodigy’s arangetram video became the most-watched Bharata natyam videos on the Web. With 400000 views (twice as many as Malavika Sarukkai’s) on YouTube alone, this Bharatanatyam video became a truly viral one:
The 13-year-old Harinie is probably one of the best-known junior dancers of today, with a large and impressive collection of Bharatanatyam prizes and awards. Apart from the prizes at competitions held in Chennai, she easily wins the first prizes in the all-India level competitions in Mumbai, Hyderabad or Bangalore too.
Nagai Narayanan (mridangam), a wel-known percussive expert, provided, along with S.U.’s nattuvangam, a firm guidance for Harinie’s steps and abhinaya. The other members of the orchestra included the vocalist Rajeshwari Kumar, who had a hard time struggling with a faulty mike provided by Narada Gana Sabha. Ramesh on the flute and Muruganandan on the violin were accurate and professional in their approach.
Warning: this article is not meant for those who are doing Bharatanatyam just as a hobby. Only 1% of Bharatanatyam students have a chance to become real professionals.
While 2000 years ago people had very few options for entertainment, the age of TV, Internet and theme parks brought about the enormous competitive pressure. While they too are already successfully using the new media, the TV and the Internet, the Bharatanatyam dancers are facing a stark reality: their “art” (well, is Bharatanatyam just “art”?) cannot stand the competition as far as the entertaining aspect is concerned.
But Natya has two aspects: entertainment (desi) and enlightenment (margi). As far as enlightenment goes, Natya is beyond competition. The problem is, there is very little left out of margi in the contemporary Bharatanatyam…
50% of your success will depend on your orchestra and music. That’s a lot!
If your vocalist can modulate his voice and produce intense and varied bhavas at least as well as Manasi Prasad or Unnikrishnan…If your mridangist can vary the strength of the beats every 2-3 seconds on a wide range and as fast as K.S.Sudhaman does… If you understand that violin cannot be a replacement for flute, and that veena alone is suitable for making many passages interesting…The reason that Saraswathy holds a veena (not a violin or saxophone) in her hands…
Can you afford additional instruments, such as morsing, kanjeera, tabla, ghatam, etc.?
If you prefer to blur your music in a jazz-like way Udupi Lakshminarayan does, add a keyboard player so that he would completely wash out everything else and destroy your recital. (Keyboard players do not have the same degree of control over their instruments as the non-keyboards, so the timing for each note cannot be as precise as in veena, for example).
The music arrangement is to be done in a professional way that would utilize the strength of each instrument in a suitable manner at the appropriate times. Even the traditional, often performed (stale) items, can be presented in a totally new fashion.
Do your items have only 3 fixed (flat) tempos? It would be boring! “Predictable” means “boring”. The professionals vary the tempos gradually and continuously (with lots of surprises) throughout each item, even introducing pauses here and there. And each item has to end in a distinct way.
If you want your music to be as good as Anita Sivaraman’s, Padma Subrahmaniam’s or Alarmel Valli’s, you may either go bankrupt or invest a lot of time searching for and training a good but affordable orchestra and the composer/music arranger. 😦
Topics & themes
The dancer has to be aware that the selection of the themes (mostly grouped by the rasas) and techniques (classified by the tattvas) for his/her items has to accommodate different types of spectators.
Natya Shastra tells us a lot. Here, we’ll give you some hints. :
The elderly like the tales of virtue and puranic legends. The reason that 90% of the rasikas are elderly people (who bring their grandchildren along). Bhakti, Vatsalya & Karuna rasas…
Young people are pleased to see the scenes of love. If your recital does not attract the youth, ask yourself what is the ratio of rati sringara in your items. Want to compete with the young film stars of Kollywood or Bollywood?Look in the mirror first. If your face looks like Meenakshi Chittarajan’s or Priya Murle’s, or if it’s as expressionless as A.Lakshmanan’s, don’t even try to do it. If your figure is Padma Subrahmaniams, people will laugh at your “sringara“. Know your limits. 🙂
The learned want to see a reference to some religious/philosophical teachings If the dancer does not understand these, there is no way he/she will be able to present these things adequately. In other words, if you are dumb, don’t try to interpret the mystic doctrines!
The seekers of money love the topics of wealth and its acquisition.
If you want to get rich sponsors at a corporate, that’s what you have to start with! There is a wealth of ancient topics that deal with it. Read the Artha Shastra.
The passionless want to watch the topics of liberation.
Shanta rasa…. If you are going to present your recital in an ashram… But if you are not even close to understanding what liberation stands for, don’t make yourself a clown.
Heroic people want to see the scenes in Rudra- and Jugupsa-dominated rasas, with combat scenes. Not just the army and police folks. Well, hard to compete with the Bruce Lee movies! Why is it that whenever the Dhananjayans produce anything of this kind, it makes me laugh??? 🙂
I have just imagined the 80-year-old Sudharani Raghupathi doing a combat scene…. Would put me to sleep… Snoring…
Common women, children and the uncultured men (murkha) are always delighted with the comic scenes and fascinating costumes and makeup.
Since this category is the most numerous, think of putting more Hasya scenes. Make sure you don’t look too ugly while laughing! Get a nice costume and learn good makeup. If you are a fat, clumsy and ugly dancer, that’s your audience.
Know your audience
Why nobody wants to watch us dance????
Do you know that most brahmins today are of the shudra type, but some (2-3%) contemporary SC’s and ST’s have the sattva-dominated nature of the true brahmin? 😦 Although Natya Shastra tells us that, for example, the cheri (inferior human type) spectators will not appreciate the finer art that is appreciated by the superior, uttama, spectators, this limitation can be overcome to some extent by mastering all the necessary techniques.
We will classify them according to the main chakras:
Sahasrara No faith (shraddha), no (spiritual) gain. If you have a divine inspiration and tejas, you may already be a saint. The problem is, saints are usually recognized and get popularity long after they are dead.
Soma Here is the control over the Hasya. The dancer has to be cheerful and even playful (the dancers with some Kuchipudi training understand what it is better). 🙂 It has some connection with Medha (it’s not related to Medha Hari! 🙂 ). Open this lotus and learn how to bring joy and humour even to the most depressive of the rasikas.
Ajna If the rasikas are not paying attention to your dancing, think why one of the 64 vedic arts was “taking control of the crowd by mystic means”. It implies looking into the crowd of the rasikas in a certain way (they have to feel the “eye contact”). It is related to Drishti (something that most dancers are clueless about!). The more focussed you are, the easier you will engage the audience. Take some lessons from Barack Obama 🙂 Don’t complain if you can’t move your eyes at will! 😦 Want to test your mental concentration? Close your eyes, try to dance and see how good your balance is! 🙂 Oh, you still have the ambition to become a professional Bharatanatyam dancer, eh??? 😦
Music and voice (already described in more detail above). Bring good music (and make sure the loudspeakers are good). It is related to Laya, Vacho and Geetam. Train your voice and introduce your items the way Alarmel Valli does, and the success is yours. Before each item she establishes rapport with the audience. Remember, she speaks from the heart or the throat registers, not from the head. You can’t speak? Hire a good compere.
Make your bhavas profound and intense. Be sincere, understand your characters’ relations and minds. If the audience are the refined rasikas in a small auditorium, don’t overdo your expressions! 🙂 Remember: those miserable spectators came to seek for a spark of joy, so don’t overburden them with the tragic expressions!
Do the brisk nrittas and difficult karanas. It’s about Javaha. 🙂 If you are doing it effortlessly and irradiate the energy, it will draw the attention. Stamina problems? 🙂 Sweating too much? The jaw drops every now and then? 🙂 Look miserable after dancing for 5 minutes? Need to do kapalabhati, eh? 🙂
Swadhisthana If you are a woman, have you wondered why your recitals don’t attract men? Cannot do Lasya properly? People complain that you look and move like a eunuck? Ok, we have a hint for you. The people who are selected as “sex symbols” have the uncanny ability to attract the opposite sex. Hint: learn the sexy karanas and bhedas. Learn to move gracefully. And a lot more. See how sexy Alarmel Valli moves her shoulders and chest? Oh, look at the flutter of her eyelashes! Now, don’t you want to murder Rukmini Devi for popularizing her unisex bland Kalakshetra version of Bharatanatyam devoid of talukku, kulukku, alakshyam, midukku,or any graceful ottam adavus?
Muladhara Purely physical things. How good is your angasudhi? Cannot sit in araimandi, eh? Cannot do atami? Cannot lift your leg? Do your fingers bend properly in all the mudras? How many hastas do you use, actually? (It seems there are 548 , but you need to do Alarmel Valli-style introductions for all these mudras, or else nobody will understand!)
You have to be beautiful, wear a beautiful costume, makeup and jewelry! 🙂 Ever wondered why the scriptures have… errrr… certain physical requirements for professional dancers? :)In other words, if you are a woman and excel by your beauty, youthfulness, brilliance and other qualities all other women standing by, you will not have to compete for attention! 🙂
Have you ever wondered about the difference between a Bharatanatyam guru and a Bharatanatyam dance instructor?
Due to the mushrooming of Bharatanatyam schools and exploding number of dancers, the competition has been growing from tough to ultra tough. Who will be the winners of this rat race? This post will explore the issue of copying, copyrights, professionalism and commercialism.
The history of the Indian culture does not know of anything like intellectual property and royalties. Many, if not most, great pieces of art and literature of the past have remained unsigned, their authors anonymous, while the more recent composers make it a point to insert their signature everywhere. This dirty stamp of ahamkar (ego) has marked the advent of Kali Yuga.
Every Indian has an unconscious conviction that knowledge, just like flowers in the Himalayas, cannot belong to an individual. In fact, it is thanks to the enthusiastic copying that the ancient scriptures survived thousands of years. Had they been so popular and successful if their authors insisted on getting royalties from each copy? Indeed, how much did Valmiki charge for each copy of his Ramayana?
Lalgudi G. Jayaraman (renowned Carnatic musician) of T. Nagar and Sujatha Vijayaraghavan and Radha, both of Chennai, filed an application seeking an interim order of injunction restraining the respondents Cleveland Cultural Alliance, Ohio, U.S. and A. Lakshmanan of Annanagar here from staging the dance ballet and infringing their copyrights…
They (Lalgudi G. Jayaraman, Sujatha Vijayaraghavan and Radha) owned the entire copyright over the ballet and they staged it in several places in India.
The Indian art, including Bharatanatyam, has long been considered as a religious offering, a gift for the gods, something that belongs to gods only. Other than offering such a gift, the artist had not even thought of making any copyright claims. Such claims would be considered as shameful.
Now, when some works of art are no longer considered by their authors as a sacred offering but rather, as a commercial commodity (or even junk), we can speak of the difference between a true Bharatanatyam guru and a merely Bharatanatyam dance instructor, the difference between an artiste and a craftsman:
Artists are now respected as gifted, as geniuses, as divinelyinspired. Crafts people just make stuff. In an ironic twist, artists are considered professionals, while crafts people may be viewed as amateurs that sell stuff on the weekend at the local fair. Does it matter? Probably not if you’re considered an artist. For someone that has been labeled as a crafts person, maybe so. In addition to the matter of respect, it’s been said, only half jokingly, that the difference between an art object and a craft object is several thousand dollars.
I’ve seen paintings hanging in modern art galleries that look like an child made them for his mother, and not a very talented child. My personal criteria has always been, if it looks like I could have painted it, it’s not art. The aesthetic value of a piece should be determined, not by the label given to it, but by the creativity seen in its design and execution. Ultimately, isn’t that what art is supposed to be, a product of the imagination brought to life for all to see?
A dancer may have put in lots of years and finally have earned an advanced piece in exchange for her ability and seniority. Of course she’s not going to want to give that away to copycats by putting it on video. Others will simply copy the piece and perform it themselves and tweak this or that and ruin the piece. The person who created the piece will not get any credit or mention. It will just be plagiarized. There has to be a way around it though.
Let us single out each point:
no guru will teach the newcomer an advanced piece
Most gurus retain their senior students by creating an expectation that these students will – some day – be taught “advanced and rare items”. What is “advanced”, you may wonder? Do such items exist at all? Have you ever watched such “advanced” pieces performed by your guru’s seniormost students? In what way is it “advanced”? Is this piece something that your guru learnt from their own gurus, or is it what he choreographed himself?
These are the questions that most out-of-shape gurus – whose only body part that somehow manages to move is their “dancing face” – hate to answer. 🙂 But then, if it is only some cheri “mukha abhinaya” that is left to be taught, you’d better run away as soon as you can. After all, since the cat (or rather 8 of them) of Mami’s Magic is out of the bag, everybody can buy those DVDs and see that the king is… naked!
Well, if these “advanced” items are ever performed for an audience, a truly advanced student can just go there and watch, and note down the choreography. That’s, if you don’t have a good cameraphone with video recording capability 🙂
Well, why do they call dance instructors “gurus”? Well, if there are IT, farming and banking gurus, there must be Bharatanatyam gurus too, right? 😦
The Upanishads have profoundly underlined the role of the guru. Mundak Upanishad says to realize the supreme godhead holding samidha grass in his hands one should surrender himself before the guru who knows the secrets of Vedas.
If your guru knows the secrets of Vedas, you are lucky, as such a guru has attained to the physical immortality as well as all the other siddhas. (We will give you a Rs.10000000 gift voucher if you tell us where to find such a person). Well, why did Minakshi mention all this in her article on Bharatanatyam??? As if she knows any Bharatanatyam gurus who can at least read the Vedas, not to mention understanding them!
One ancient tradition we still keep: the Bharatanatyam gurus will always try to promote their well-paying, high-status but inferior students at the expense of putting down the more talented students. The gurus create all kinds of obstacles for their “less important” students. For example, in case of Bharatanatyam competitions, if the gurus send more than 1 students to contest a prize, sometimes these gurus have to bribe the judges so that they would not give the 1st prize to the most talented dancer but to some other, VIP student. If you are among your guru’s most talented students, don’t be surprised to learn that your guru used the mean and dirty methods to promote other, less capable VIP students, at the expense of your dance career.
Unbelievable? Read what Minakshi tells us:
The most popular legend is that of the amazing young tribal boy Ekalavya on being rejected by the ace trainer Dronacharya, raised his statue and with great dedication practised the art of archery and left behind Arjuna, the master archer, who actually learnt the art under the living guru. And the heartless guru asked for his thumb as gurudakshina or fees, and made him inferior before his royal disciple.
a lot of dancers copy each other’s pieces
“I take my Handycam every time I go to the Natyanjali and other festivals”, confesses one professional Bharatanatyam dancer. “Otherwise I watch Bharatanatyam on TV or YouTube – there is more than I have time for it!”
Some Bharatanatyam gurus give their students the videos of a dancer’s performance and ask them to merely copy it. The question is, how well can they actually copy? ”
My most advanced students have been trying to copy this piece (performed by an outstanding dancer) for the past 5 years but so far they have not been able to copy more than 80%. They can’t copy the nuances, the smaller details. Well, they can’t even do the mudras properlyor the bhedas“, – complained a senior guru.
It takes an exceptional virtuoso to copy a genius successfully. But then, if you are a genius, you will never even think of copying others!
Even if we make a poor replica of a masterpiece, how many people will be able to tell the original from the fake? 2%?
For the ogranizers of the corporate shows, all items will appear identical as long as the title is identical. Re-packaging, re-labeling, re-mixing and re-branding is now in vogue.
some copycats will “ruin” the “original” choreography by “tweaking this or that”
Other gurus are more cunning: they modify a bit here and a bit there and sell it as “original”.
The question is, isn’t choreography supposed to be evolving?
And, didn’t the traditional Sadir choreography degrade beyond recovery 300 years ago?
there is a person who “created the original piece”
What is “original”???? Can any author really make a claim that he has not used bits and pieces from some other people’s work?
This post was provoked by Aneal Krishnamurthy‘s “The future of Bharatanatyam: A rasika’s view” published in Sruti and re-posted on Narthaki. Aneal, an amateur rasika, has made us sit down and analyze the things in depth. We will comment on his and another angry NRI’s, Mukundagiri Sadagopan‘s letter too, as well as Alarmel Valli’s opinions.
We will compare the past of Bharatanatyam with its present, and make a guess of what is it going to be like in the future. There can be no way to predict the future without understanding the past and the present. To understand the developments, you should have a basic understanding of the 4 Yuga’s. Remember: Kali Yuga officially ended just 50 years ago. Most people have lost the sense of the sacred. Spirituality and religion are no longer relevant to people’s life.
Since the sacred music and the dance offerings prescribed by the Shastras, such as Agama Shastra, were recently conveniently replaced by the rice and sweets offerings, we can pretend to ignore that another prescribed offering, asana, started to be conveniently interpreted as “seating of the idol”. Curiously, the degraded Hindu pseudo priests, grown fat and ugly beyond all reasonable dimensions, managed to convince hundreds of millions of idiots that the changes in the Sodasa Upachara rituals were…. holy. As holy as the holy McDonnalds.
To keep in tune with the changing times and to make Bharatanatyam more relevant to the contemporary audience, Natyarangam (the dance wing of Narada Gana Sabha) organises a dance festival every year on various social issues such as male chauvinism, eve teasing, dowry, corruption and politics.
It is not just agricultural themes that became spiritual. The poor Ramaa writes that immigration is, in fact, a deeply spiritual theme too, and the Statue of Liberty is the true American god that every Bharatanatyam dancer in Chennai has to offer a puja to – before taking a flight to New York in hopes to earn some not-so-spiritual hard currency:
My choreography Jwala-Flame about the struggles and discoveries of the immigrant experience and dedicated to the Statue of Liberty elicits that kind of deeply spiritual response from the audience every time we have performed it.
“Spiritual response”? What is it, darling? Ramaa explains:
It is not enough to simply present your work. You must also represent it both artistically and politically.
Politically??? Can’t find it in Natya Shastra!
The current situation is aggravated by the fact that 95% of the present-day “humans” are in the human bodies for the 1st time in their soul’s evolution. Which means that the real people (who can appreciate the finer Bharatanatyam) are a minority. If one was a pig in his past life, he will prefer to watch Bollywood hip-shaking.
You may know there was no Bharatanatyam 500 years ago. Sadir looked very, very different. While you can find traces of Natya Shastra’s styles in the classical Indian dance, these are just traces. Well, the Kaisiki style can be seen in Mohiniattam (where Lasya reaches its pinnacle, and the Bhavas are rendered in the fine and deep manner) and Odissi. But there is very little left of it in the contemporary Bharatanatyam. So… What is Bharatanatyam, to begin with???? A tree without roots will dry up and die quickly.
“Kalakshetra style is not Bharatanatyam“, once said Udupi Laxminarayanan.
“Udupi Laxminarayanan’s “Kanchipuram style” has nothing to do with Bharatanatyam“, said Sudharahi Raghupathi.
“My style is called Bharathnrithyam“, said you know who.
“Not many people believe I dance Bharatanatyam. Actually, I don’t believe it either“, complains Shobana.
“I don’t know if it is traditional Bharatanatyam. I think I took it from Kuchipudi“, another Bharatanatyam dancer confesses.
“So what if I borrowed this and that from the English ballet?“, replies Chitra Vesveswaran.
“Yes, this is Martha Graham’s technique that I use“, confesses Sudharani Raghupathi.
“How many people know that there is a lot of Kathakali and modern dance in my…. errrr… Bharatanatyam?“, asks VP Dhananjayan.
Manvantara wrote :
I attended a recital by Alarmel Valli at Memphis…. To me, her steps seemed more like Odissi with some influence of ballet! Her accompanying musicians were very good, though!
Then there was the “Ekantha Seetha” – which I think was specifically for the non-Indian. The choreography (by the Dhananjayans) was good, but predictable and in the end, left me wondering what it was all about. Sujatha Srinivasan seemed to “dance” without moving her body much! Dhananjayan himself was no good – he tried some Kathakali style eye movements, but only the intent was there – the eye balls did not move!
Excuse me, where today can we find… Bharatanatyam???
Thegloriouspastvs. the present :
evolution or… degradation?
There are 4 different historical reference points on which we will base our vision of the great Past and the comparisons with the present practices and trends:.
The episode with apsara Urvasi, described in the Natya Shastra.
The incident on Thillai that resulted in the construction of the Chidambaram temple.
The original devadasi practices in the example of incident with Kallivelli Siddhar..
Although some idiots corrupted by the western pseudo-culture dare to expose their lack of brain by stating that “The body of a dancer of today considerably differs from that of an 11th or 14th century dancer, especially one known only from temple sculptures.” , it is an archaeological fact that the human bodies in South India were no different 50000 years ago from what these bodies look now. It is the styles of sculpture that came and vanished. The bodies remain the same. (Oh! Well, not quite: the ancient dancers didn’t look so old, ugly, useless and worn-out when they were 80 years, and they did not attempt to make a laughing stock out of themselves by exposing their clumsiness and lost figures!) The proliferation of imbecile, half-baked modern authorities on Bharatanatyam is amazing, especially in the rajasic West, where every idiot is encouraged to produce a “different” view as long as he is paid for his/her “research” and “innovation”.
“New” is better than “True”, is the slogan of the superficial Western rajasic mind.
“There are over 25 Ph.D programmes on Indian dance in American universities alone,” says art critic Sadanand Menon. “This is when there is hardly any such attempt here.”
“Every American idiot is equal to Bharata Muni since Bharata Muni did not have a Ph.D. in Dance from a reputed US-based university” is another democratic belief.
There is an interesting trend that VP Dnahanjayans described very aptly, when a Kerala university imposed its own “selection” of the Bharatanatyam…. errrr… “professors” at the Dhananjayan’s “college”. “The staff they proposed are the worst possible teachers”, commented the disappointed Dhananjayan. “The university wanted the Bharatanatyam professors to have, primarily, a university degree in Bharatanatyam. The problem is, there are no people with a university degree in Bharatanatyam!” Because nobody needed such a piece of paper before.
Although Mother Kali can be heard producing very lound laughter above our heads, let us get serious and find the parameters by which we will compare the present and the past.
-The episode with apsara Urvasi makes us realize that:
the origin of Natya is in the Heaven, not in a disco bar(leave us a comment if you believe you are an incarnation of Rambha 🙂 Now, Bharatanatyam dancers learn new things by copying western ballet, Indian movies and folk dance. The rest they imagine. They don’t read the Natya Shastra or Abhinavabharathi. Too sophisticated for parrot-brained maami’s! Have you ever heard a dancer saying, “This item was revealed to me by such-and-such Apsara in my meditation?” What is meditation, Madam, errrrr?
it takes a king Pururavas, a great soul and a purified mind, to compose a superb piece of Natya Few ancient items (incl. poetry and music) have been preserved. “Pay Rs.60000 and I will compose a heavenly item for you” is the tariff language of the contemporary (pop-Bharatanatyam) composer. While some medieval composers were declared saints, where are the modern saints? They are fighting for the Padmashree awards. “How much is this divine set of Jathis, Sir?”, “Rs.23000, Madam”. There is not a single item composed in the past 200 years that could stand comparison with the ancient Kali or Vishnu Kautuvams.
it takes an embodied apsara’s skills (arrived at by constant, full-time practice) and a perfect body(you bet she looked far better than Aishwarya Rai!)to truly mesmerize the refined audience (not a bunch of ignorant village bumpkins who believe that “buffalos also dance”… Bharatanatyam? ) The contemporary Bharatanatyam students have no desire nor time to practice. For what???? With 1000 relatives around, every day there is an important function: someone either dies or is born. The yokels watch the vulgar Indian movies.
there are no contemporary Bharatanatyam dancers whose death would result in the immediate death of 1000 of their fans
When the modern reviews publish “mesmerizing” and “enchanting” and “fascinating” epithets, take it with a pinch of salt. If you see an old fat ugly grandma monopolizing the stage, and junior dancers licking her a** and shoes, remember, this simulated psychophancy does not last long. The same tongue that licked the Bharatanatyam VIP’s feet at a function will blast her to pieces while its owner chats to her friends. Contemporary dancers are the biggest liars and politicians. The fattest dancer is Ms.Jayalalitha, who still gets compliments for her superb nritta.
-The incident on Thillai that resulted in the construction of the Chidambaram temple.
the real dancing happens in the invisible worlds, where it is much more fun
The present Bharatanatyam’s themes include HIV, agricultural irrigation, industrialization of India, sweetness of Coca-Cola, greatness of the State Bank of India, and the most divine condom items that are used with Lingam.
it takes a great rishi’s tapasya to get a ticket for such a show If you are a Bharatanatyam dancer who “has”(really?) to dance at a car exhibition or a new shampoo inauguration, ask yourself, “How many people came here to watch my great Bharatanatyam?” If you are a Bharatanatyam dancer doing a programme at a Sabha, ask yourself, “Can I see anybody besides my relatives, fellow dancers, neighbors, my parents’ colleagues? Huh! Nobody else came again!”
the human shape is used by Shiva in his mystic dance to explain his relationship with Shakti “We don’t need anything mystic: there are important meterial (financial, career) problems that we have to solve right now!” . Have you ever met a contemporary Bharatanatyam dancer who has at least 1 spiritual experience??? (not just a dream of buying a new car!) “Maami, let’s get practical: I don’t need any such revelations: I have to prepare for tomorrow’s exams!” What, Bharata Muni was a rishi in the first place????
-The original devadasi practices.
The devadasis used to live a very simple life with very basic material needs provided for by the temples.
Now, every dancer wants to be as rich as Jayalalitha, or Srinidhi Chidambaram or at least Alarmel Valli.
Tuition was… free of cost.Now, only the students who pay well (lakhs!) get the attention of the guru. Arul describes the contemporary exceptions: There was a dancer who lived down the street of very modest circumstances and she would pay something like a hundred and fifty rupees a month. He (Subbaraya Pillai) didnt’ care. There was no set fee. Everyone paid what they could, it was voluntary and he would never ask. Over eight years she became a good student and he would spent 3 or 4 hours each day, six days a week, teaching her the danyasi varnam. It was such a paltry sum! For all those hours and hours of teaching.
Devadasis learnt 64 subjects, so some of them made very good living. Most of these subjects were complimentary to dance (right-brain hemisphere activities), and automatically enhanced the dancer’s dancing standards.
One of these 64 subjects is… Divination! Can’t remember this subject in the Annamalai University’s syllabus! “Spells & charms“? Not a useful subject either. Our ancestors were idiots or what?Now, some professional Bharatanatyam dancers complain that…. they cannot make a luxurious living out of Bharatanatyam alone! Most contemporary idiots believe that computer engineering or surgery (left-brain hemisphere activities) will enhance their Bharatanatyam performances. A typical performance in Chennai starts with, “She has an MBBS”. Or an MBA. When on earth did this cow have the time to rehearse her Bharatanatyam items?????? Stupid: she didn’t! 😦 Then she will complain that nobody likes Bharatanatyam today.
A devadasi danced in the mandapams. No human audience were allowed to watch her dance. She danced for the deity.Her dance was the expression of her soul.
A contemporary Bharatanatyam dancer dances to entertain the audience that consists mostly of a bunch of bored pigs chewing chips and chatting on their mobiles.
There was Tejas emanating from devadasi Valli when she was dancing in front of Kallivelli Siddhar The contemporary Bharatanatyam dancer’s brain is too busy focussing on how to impress the sponsors and chief guests who do not understand anything about Bharatanatyam.Tejas??? What is Tejas? 😦 Is it the name of a new Tamil actor?
The devadasis used to do all the 108 karanas. There was a lot of variety in their performances.
Nowadays the Bharatanatyam dancers (except for very few ones) use just 10% of the technical elements described in Natya Shastra. Most rasikas cannot find the difference between Bharatanatyam and folk dance.
There is a rumour that ABHAI wants to prohibit this book on the grounds that it offends the senior dancers by stating that a Patra (bharatanatyam dancer) has to be youthful, agile, beautiful, with sweet voice, and so on. After all, the modern trend is to let the disabled dancers perform on the stage, isn’t it??? Their parents pay so much, so why not…? Abhinayadarpanam is an outragous text that, for some apolitical reasons, lists the criteria that disqualify the dancer from giving a public performance. “99% of the contemporary dancers would lose their jobs if we followed the scriptures”, said Sudharani Raghipathi at the release function of her recent Bharatanatyam DVDs (She does not allow her best student, Sridevi, to release any DVDs now, when Sridevi can still dance. Otherwise, who would buy Sudharani’s DVDs?) where the old maami looked dangerously pregnant and was moving as if on crutches. What, Abhinayadarpanam reads that such a dancer would be a parody? “Dare call me a clown and your dance career is dead”, said the angry Padma Subrahmaniam.“So what if I look vulgar? What, Chitra Visveswaran is better?”
The recent developments have included such main factors as
scattering of the rasikas across large areas, making it hard to attend physically a Bharatanatyam programme
The time and the cost of even intra-city travelling is increasing dramatically. People are too busy in the evenings, the office hours stretch to 8 p.m.. The schoolchildren are busy with the evening tuitions. No time to attend some useless Bharatanatyam programme!
growing imbecility among Bharatanatyam dancers in India They know that there are hardly any spectators outside South India who are capable of appreciating the finer Bharatanatyam. Nevertheless, the dancers in India are very proud to announce that they gave performances abroad.
They eagerly try to impress you by saying they have an MBBS (MBA, etc).
They invite the chief guests (like bank managers, etc) who have no idea of what is Bharatanatyam. “There are no criteria for selection at the sabhas, denying the talented a platform to perform.”
the NRI community, facing its cultural identity crisis, has become a major factor
The more rajasic and more intellectual NRI’s, who have become professional shoppers, want to get the “authentic product” and a “good value for money”. It is the vociferous NRIs who started questioning the established norms (or rather, lack of these) and (mal)practices in the Bharatanatyam world. It is the rich NRI who started offering significant financial support even for the India-based dancers. As Anita Ratnam put it in her review that she later preferred to edit and remove from Narthaki’s archive index, NRIs continue to fill our city as their darling daughters and sons vie to perform, often with a hefty ‘donation’ to the respective sabha. In return, they are treated with scorn and suspicion by the local artists while simultaneously welcoming their dollar power or seeking a performance opportunity in foreign shores. Why do they do it year after year, subjecting themselves to utter humiliation and degradation?
Mother Kali was laughing at the liar Anita Ratnam when the editor named the review as “Making Faces at Bharatanatyam”. This is mostly what the contemporary Bharatanatyam monkeys are doing, while earning cash for producing the “authentic Bharatanatyam” videos for the credulous British museums who believe that every Indian monkey is a great guru.The monkeys do not understand why Natya Shastra prescribes small dancing halls for Natya. The monkeys of Bharatanatyam like the large audience, the size of a cricket stadium – to devour the energy of the thousands of pigs roaring.
Alarmel Valli gives us some insights:
Ever wondered why Alarmel Valli’s technique includes and increasingly larger number of purely western embellishments and artsy ornamentation aimed at telling the spectator, “Hey, look at me, am I not great?”
Perceptions are changing with the cultural onslaught from the West. American pop culture, with its discos, its MTV and its soap operas has made strong inroads. These have contributed to the distancing of our young from our culture.
A true liberal is one who can move across all forms of cultural space with equal impartiality. He does not go around saying: “This is not fashionable, so I will not go to it;” or “It is not contemporary, so I will not watch it;” and so on.
As she spends most of her time in the USA and hardly watches any Bharatanatyam performances at all, here is what she thinks:
There are a few people who tout the idea that Bharatanatyam, or any classical dance for that matter, no longer has any relevance; that it is dead, it is a fossil, it is a museum piece, it is too decorative
Is the dance of Alarmel Valli is purely decorative, and a useless westernized fossil since it has no revelance to most of what is described in Natya Shastra?
the subtle imposition of a Western modern aesthetic, modified by a sprinkling of Indian ‘ingredients’ is not the answer to the development of modern Indian dance. And, we do not need anybody to tell us exactly how our dance should evolve.
Let’s forget the Natya Shastra and listen to the arrogant Alarmel Valli, comfortably settled in her American house:
Although I am a classical dancer, I enjoy good Modern dance enormously and am inspired by it. The ultimate test is whether the dance touches you, moves you, makes you think.
Natya Shastra, though tells us that desi is can only serve as entertainment, while margi is a means of spiritual upliftment. Is Alarmel Valli greater than Bharata Muni??? No, she is just a stupid arrogant woman, a lowly woman who thinks:
The Natya Sastra itself gives you total freedom to be a poet. Can one dictate or curb poetic expression?
Alarmel Valli tells us:
a few questions posed by some Western ‘modernists’: Why is there so little floor movement in Indian dance? Why is Indian classical dance so ‘happy’ all the time? How can an ancient traditional form like Bharatanatyam be contemporary? These questions are as pointless
There are no entirely pointless questions. The answers could be:
1. Bharatanatyam is not meant for horses running in a football stadium
2. Classical dance is to express ananda, and all the miserable ballet dancers in America or Europe don’t understand it
3. An “ancient” form like Bharatanatyam did not exist 150 years ago: 95% of what we see today was created out of scratch very recently, so it is very contemporary, and very boring too.
Why do you think why Alarmel Valli writes:
I love Modern dance and I have seen many of the best Modern dancers from around the world. My experience of their dance is transmuted within me and finds appropriate expression in my own idiom, which is Bharatanatyam…Other dance-forms have their influence on me… For instance, I am a great admirer of Pina Bausch… I am inspired by her and as such, somewhere in my inner consciousness I am influenced and this comes out in my dance
Oh! She borrowed all that crap from the great guru Pina, Pina! You didn’t know, huh?
So, is there a future for Bharatanatyam?
The fate of Bharatanatyam is similar to Carnatic music’s veena. As Madurai T.N.Seshagopalan said in Sruti, “An element of drama and contrived modulation pass for Bhava. What was once considered cheap tactics has become the order of the day…If there is a great artist today on the veena the situation would change”. We will be patiently waiting for a real apsara’s incarnation to restore the glory of Natya.
Our comments (in bold) on Aneal’s article’s statements
In my view, Bharatanatyam does indeed have a strong future but is currently undergoing certain changes that could have a profound impact on the art form. This article aims to discuss certain trends that I have observed over the past few years (the analysis that is based on a few year’s observation is not worth a dime) and attempts to raise some important questions for dancers and scholars in this field.
Trends in Bharatanatyam technique:
Bharatanatyam is slowly but surely moving towards more athleticism. (maybe in America; in India, more and more cows believe that, if Chitra Visveswaran can dance in a skirt, so everybody else can!) Although no one can doubt the strength and endurance required for dancers to competently perform a whole margam, there seems to be a marked emphasis on athleticism by some dancers on stage. The athleticism almost borders on acrobatics and gymnastics (oh, where, where did you watch it???? Show me 1 dancer who can do 108 karanas, and I will believe you). This type of dancing seems to have a certain appeal to audiences and I wonder if more dancers will follow in this path.(no way, they are getting too lazy in India)
Another related point is the growing emphasis by some dancers on nrtta to the detriment of abhinaya (Aneal has never watched a Chennai-based Bharatanatyam dancer). It is commonplace for jathis to last for several minutes tiring both the dancer and the audience. (The US-made jathis are as boring as their synthetic McDonnalds hamburgers). The pace is often fast and furious. (Aneal has not seen a really fast nritta). Sometimes (often!) this pace sacrifices the crisp completion of each adavu. Is this desire for speed being driven by the (American!) audience? (no, Aneal, it’s just the audience cannot see their abhinaya from 200 meters away – in a large auditorium) Are dancers worried that without some spectacular footwork fireworks, the audience will not stay interested? (The audience is bored anyway, but want to appear as “cultured Indians”) With regard to padams and other abhinaya-oriented pieces, are dancers worried that they will not be able to sustain the audience’s attention with a slow-paced piece solely focused on mime?(The dancer’s mime is usually so horrible, artificial, superficial or boring that they don’t want to scare the audience)
Another issue is the apparent loss of importance of the Araimandi stance. (in America???) It is very rare (not so rare in Chennai: go and watch the youngsters) to see dancers with proper Araimandi. If it is acceptable today for a dancer to have just a slight outward turning of the knees (they use the western toilets nowadays, hence the new habit) and sitting a few inches lower than his or her height (their legs are too weak after driving the car to every shop instead of walking 50 meters), why even call it a half-sitting position? Review after review will note in a sentence (usually towards the end of the review) that the dancer’s Araimandi stance is missing or not consistent. (Who paid the journalist for the review? Too little an amount will result in bad review!) What is surprising to me is the minimal impact that the lack of Araimandi has on the overall critique of the dancer. I have observed that dancers are routinely praised for their technique even though there is no Araimandi. Perhaps lack of Araimandi is a result of dancers increasing the speed of their nrtta. (no, they just have 1 hour of practice per week!) Is this only one isolated component of Bharatanatyam that is slowly being lost or are there other components that are suffering a similar fate? (Yes, Aneal, the same is happening to mudras, hasthas, bhedas. Have you seen a dancer who can move her eyes in all the ways described in the Natya Shastra???? It’s just too hard! ).
Trends in Bharatanatyam performance content:
A highly visible development over the past few years is the move towards more thematic programs. (If your sponsor is McDonalds, your item must be about hamburgers. What, ancient dancers depicted devas??? Where are these devas now? Why they are not sponsoring the contemporary, dirty-minded Bharatanatyam dancers?) Within thematic shows, particularly abroad, there is a movement to make Bharatanatyam relevant to non-Indian audiences. ( the dancers love the non-Indian dollars, and the opportunity to write in their resume, “Have done 4 tours in the USA”) Modern social issues are often the themes chosen. Is the traditional margam no longer enough to sustain the attention of the modern audience? (No, modern brahmin desis don’t know what is Bhagavad-Geetha). Are dancers making efforts to educate rasikas on the complexities of a margam?(Who cares?)
What do dancers think about the future of the margam format? (The margam format is only 200 years old. Let it vanish like a bad dream. After all, devadasis danced 18 items for 6 hours non-stop! But then, there was no important local cricket matches to catch on TV) . Although this has been the traditional performance structure for several centuries, (Aneal does not know what he is talking about) do dancers find the traditional items limiting in scope? (The dancers do not know the traditional items). Do dancers feel that, through a margam, they cannot fully express their thoughts? Already, the Shabdham has more or less made its exit from the margam. What is next? Javalis? (I hate the boring Javalis!!! Let them vanish like a bad dream! Aneal does not know that hardly anybody in Chennai dances the boring Javalis) As many Bharatanatyam performers are young (especially at the amateur level), how can they be expected to exhibit the maturity (not so long ago they were supposed to reach maturity in Natya by the age of 16 and have an arangetram) required for performing these more intense items? It is interesting to see the relatively recent (no, not really so recent) incorporation of the Pushpanjali into many margams. It is quite possible that other items from a margam will be added or deleted as the years go by.(Yes, now they do the Bhajans to the Hindustani music to please the north Indians).
Another trend is the broadening of the music used for Bharatanatyam. (The composers just don’t know what is Carnatic music). Traditional Carnatic music is being supplemented with compositions in other Indian languages. Just as the language of Bharatanatyam music shifted from being predominantly Telugu to encompass Tamil and Kannada compositions over time, it is not beyond the realm of imagination to think of a day where compositions in a non-Indian language like English could become acceptable. Western classical and contemporary music is also being experimented with by some dancers. (Yes, the hard rock fans demand it.) Obviously, over time and with enough dancers moving in this direction, the music of Bharatanatyam will not stay static.(It will sink below the bottom)
Fusion of dance styles and music is all the rage in some circles. (If you had a 1 week’s of Bharatanatyam classes in your entire life, and 2 weeks of Odissi, what else can you do to impress the public???) Can a Bharatanatyam dancer performing choreography interwoven with different dance styles remain uninfluenced by the other styles?(There are over 500 hasthas in Mohiniattam. How many does Aneal know there are in Bharatanatyam?)
Although group performances are not a new concept (in India, there are usually 5 passengers seated on 1 motorbike, and I saw 12 people in 1 autorickshaw), there seems to be a feeling among some that the more Bharatanatyam dancers there are on stage, the better the show. (the dancers hope that nobody will notice their mistakes) Perhaps it is an economic issue as well. The more dancers you have on stage, the more friends and family that may attend which will result in increased ticket sales. As there are more and more group performances, will there be any negative impact on the scope for a solo artist? (Yes, the ambitious solo artist will have to be content even with 20 rasikas)
Trends in Bharatanatyam teaching and learning:
Bharatanatyam seems to be developing in two parallel tracks – the professional and the amateur. The vast majority of dancers treat the art form as one of their extra curricular activities, not as a profession. The dancer’s arangetram is seen by many as the culmination of training rather than the traditional ascension of the stage and the start of the dance career.(Right. In 10 years’ time, there will be no really professional Bharatanatyam dancers at all)
Particularly among Indians settled abroad, Bharatanatyam is viewed as an important tool in teaching Indian culture and values to children being raised away from the cultural influences that shaped their parents.(See the attached letter below Aneal’s article and have a laugh)
There appears to be a noticeable trend away from the mastery of the fundamentals. (American-born kids have dyslexia, no?) Children who are often not ready for the stage are decked out in beautiful costumes and jewelry for the visual consumption of their families and friends. (They are used to prop their parent’s social status) Praise is lavished a little too freely and the epidemic of standing ovations for mediocrity is spreading. (People do it at any stupid political gathering, so what?) Is it any wonder that audience sizes are dwindling?(Nobody will watch your boring and amateurish pseudo Bharatanatyam in 10 years’ time)
It is also very interesting to observe the generational shift among Bharatanatyam dance teachers. The great gurus of the 20th century were themselves taught by great nattuvanars who were keepers of the Devadasi tradition. (The nattuvanars had little to do with the devadasis) The gurus of the 21st century will be composed of dancers a generation or two removed from the great gurus. (Thank God!) In the modern age, the strict gurukula pattern of learning dance is almost extinct. (They advertise the gurukula style learning DVDs – no need for the guru) As the decades pass by, it is not unreasonable to expect that what is being taught is going to change. (There will be no need to have a greedy and incompetent guru) As an extreme anecdotal example, a teacher, herself trained rigorously by a great guru, teaches only a set of Thattadavus and Nattadavus as the foundation before moving on to teaching items. I fear that this type of teaching is not just an isolated event but is something that is spreading. (Come on, who needs your Adavus?) It is alarming to think that a student receiving this kind of training may someday go on to become a Bharatanatyam teacher. (Nattuvanars could not dance at all, anyway)
Trends in societal acceptance:
It seems to me that some of the primary obstacles for choosing Bharatanatyam (or any art form generally) as a profession are societal and the monetary costs associated with being a performer. (True) It is quite rare to see Bharatanatyam dancers who do not have another profession to rely on it for their livelihood. It is even more rare to see dancers with parents who encourage their children to pursue Bharatanatyam over academics. (I don’t watch such dancers’ programmes, and don’t recommend it to anyone else) Bharatanatyam is encouraged by many families so long as it does not ultimately interfere with other more “professional” ambitions. Even if a dancer is encouraged by her parents, when she gets married, she has to hope that her husband and in-laws are supportive of her choice. (Errrrr… If Bharatanatyam is not the most important thing in your life, you’d better not think of yourself as a “professional Bharatanatyam dancer”. Padma Subrahmaniam had to divorce…)
Perhaps, her new family will only be accepting of her teaching dance and discourage a professional dance career. The path becomes even more difficult if a dancer becomes a mother. As with any profession, juggling motherhood and professional aspirations is no easy task. (Don’t exaggerate: Alarmel Valli, Rajeshwari Sainath, Urmila Sathyanarayanan are good examples) A serious pursuit of Bharatanatyam requires a lot of time practicing (come on, who practises now more than 6 hours a week???), rehearsing, choreographing, performing and traveling. For a young mother, time away from her child can be very difficult emotionally and cause feelings of guilt. As she gets older, can she maintain her beauty and graceful figure? (Yes) If she succumbs to the aging process, can she develop a thick skin (yes, this is what the majority of the senior dancers do very easily: a sponsor can even sh*t on them and these dancers will smile) to not get affected by comments that she is too old or too fat?
Young men equally have difficult challenges ahead of them if they choose to pursue Bharatanatyam as a profession. Men are generally not encouraged to follow careers in dance and face many uphill battles with society to gain the recognition that they seek. The very small number of men pursuing Bharatanatyam either as amateurs or professionals is testament to the difficulty of getting more male involvement in the art form.
Trend in expenses:
Even if societal obstacles can be overcome, another development is the exponential increase in the cost of performing. Factoring in the cost of a live orchestra, costumes, jewelry, traveling etc., Bharatanatyam is a pricy profession. It is also very likely a self-financed profession. With so many dancers vying for attention, most sabhas feel no pressure to compensate the artists. (True….) It really is a business and those dancers that can draw ticket-paying audiences can reap some reward. (Why don’t these dancers learn how to dance first????) The lucky few who perform abroad on tours on a regular basis have the chance to supplement their income. The rest have to rely on income earned from other professions or their families to fund their Bharatanatyam careers.
Another trend is a vast increase in the number of performances and a corresponding dwindling of the audiences. With the exception of certain of the established veterans, do most Bharatanatyam dancers have an established fan base? Not just family and friends who attend a program but rasikas who are excited to see the dancer perform? Are most dancers prepared for the years of toil that it may take to gain the support of rasikas? (No! )
With so many competing societal influences, I wonder if enough is being done to educate (HOW???) the young of today to grow into the rasikas of tomorrow. After all, it is the young who will financially sustain the art in the future.
I hope that by laying out some of my own personal observations of trends that I see in Bharatanatyam and raising many questions, this article will get people talking about the future of Bharatanatyam. At this point in time, Bharatanatyam at the amateur level is exploding in popularity. Bharatanatyam at the professional level, however, is a big question mark. With so many obstacles to overcome, will talented dancers have the perseverance and resources to achieve their goals? (No, they are too lazy) Finally, upon achieving these goals, will they be greeted by an auditorium full of adoring fans or by a vast sea of empty seats?
As a rasika, I believe that if Bharatanatyam (either at the amateur or professional level) is to continue to flourish, dancers must present the best. There are far too many mediocre programs these days (Why don’t you dare to name a few? According to the reviews, everything is “fantastic”, and the rivers in Madras are clean – according to the press), and when we in the audience see performers whose technique hasn’t been perfected and whose expressions are lifeless, our desire to support this beautiful art form will surely fade. (Idiot, go and watch some good performances!)
Another write-up we want to comment on:
Are USA-touring Indian dance groups really of top quality?
Author: Mukundagiri Sadagopan of Illinois, USA, discusses this issue in this article he e-mailed to KutcheriBuzz.com
As the 2008 music and dance season starts in North America (USA and Canada) I have a personal peeve regarding the visiting classical dance troupes coming from India. I suspect that a large percent of lay-audiences in North America share this complaint.(Yes, soon they will stop attending such crappy performances)
In recent years India-Based Dance Troupes- with a few notable exceptions – leave much to be desired. To state briefly, every troupe is anchored by a main dancer who is past his / her prime (a chief clown represented by a buffalo) and is physically unable to move rapidly on the stage. Because of this the programs they offer are slow and boring.
These India-based troupes are mostly anchored by a senior artist who exceptional in her Abhinaya (hand gestures) (These senior dancers have no graceful or subtle expressions left on their fat faces) and Nrityha (expressional or narrative dance) – but is lacking in Nrutta which is pure dance. “Pure dance” – the rapid-fire stepping and dynamic footwork is what differentiates a dance from a “Katha Kalakshepam” – a musical, often a tear-jerker.
There is intense competition among highly talented troupes to win trips to America. Out of these only those with the most economic power and political clout get the contracts.(Business is business, as well as foul politics) However, it takes decades to build the required combination of talent, money and influence. By that time the Anchor Dancer, who by now is also the owner of her own dance school and its artistic director, has almost completely lost the physical strength to prance and leap forcefully as Nrutta – true dancing requires.(Such a dancer thinks that nobody knows what is real Bharatanatyam in America anyway!)
Invariably, there are fabulously athletic dancers touring with each of the teams, but they are junior members under the control of the Anchor. When the curtain opens, like most normal humans would do, the Anchor hogs the stage, not giving scarcely a chance to the stronger dancers. (So why didn’t you throw some rotten tomatos?)
So what should the buyers – Classical Program Organizers in North America do?
First they must inform the “export agents” in India that the audiences here are tired of watching over-the-hill dancers from India. That sends home a message for the 2009 summer season.
Second, they should soon place advance contracts for 2009 season dance programs from dance companies right here in North America. (Yep. Nobody needs those Indians from Chennai!) There are dozens of outstanding dance schools in every US / Candian metro area. (Where???? Where???? Where???) Many have been here for over 30 years. (And completely forgot what is Bharatanatyam) Their audience appeal and talent matches the imports. (Yea…Both are rubbish!) In addition, this would further enhance the talent pool in North America – which is a great goal in itself.
Third, Classical Program Organizations and Dance Schools in North America should set up a North American Dance Agency. The NADA should investigate, inform, and screen India based troupes that plan to tour North America. They should verify that the visiting dancers are physically able to do comprehensive classical dances that including brisk Jathis and Nritta.(How much are the bribes?) It will be in the interest of the Dance companies in India to cooperate, because verification from NADA would ensure favorable terms and bigger audiences. (Really????)
Narthaki recently published a very in-depth Review “Bharatanatyam competitions of Natyarangam in Chennai”. It did not cover the 3rd category (professionals in the 18-25 age range), so we added a brief description of it below.
Some of the junior participants came for all competitions, including the crappy TTD competition too (where you cannot win a prize unless the theme is about Vishnu’s avatars or the related like Anjaneya, etc) on 27 July (thanks N. for her report that we have just received!).
It is interesting to compare it with another competition conducted a week ago by the Music Connoiseurs Club (MCC) (another of our contributors, K., was kind enough to send a brief outline of what was happening there).
There were over 150 contestants at the “no limits” Music Connoiseurs Club’s competition. There were less than 50 at the TTD, where a third of the contestants were… between 5 and 8 years old, the age when the kids cannot even walk properly, leave alone understand the lyrics! The other age groups were 9-12 and 13-17. Not for adults. The privilege of performing the first in each category was given to the students of Anita Guha, whose dance school is across the road from the TTD. Mr.Srinivasan, the TTD representative, said to K., “Yes, I give preference to Anita’s, and this is none of your ****** business”.
Does the number of contestants speak about the prestige of a particular competition?
Not just the number: very few schools sent their best dancers for the TTD competition.Among them were Yamini Devi (Gopinath’s student), R.Archana (Vani Gayatri’s), S.Nikita (Divyasena’s), Shafali, Kavya, Rohini and Shivatmika (these 4 as well as a few more are Anita Guha’s) and S.Sahana (Sikkil Vasantha Kumari’s).
Music Connoiseurs Club’s competition had to split the participants into 5 groups, and were holding the competition in 2 groups simultaneously – in 2 different halls. Well, to be precise, one “hall” was a generous 2.5 x 2.5 metres of a corridor in the PSBB school in Mandavelli. While this tiny space was enough for the smallest kids, the 13-15 year olds found it too small to dance there. 😦 The Dakshinamurthy Auditorium, in the same compound of the PSBB school, was empty at the time.
The TTD offered the dancers a similar “generous” 4 x 2 metres of slippery space. The judges were seated not in front of the stage but… at the side. Very innovative! Since TTD is a church whose business depends on how many people attend their functions, they made the parents of the contestants wait for the announcement of the winners from 5 till 8.30 inside the hall (to rescue by their presence the poorly attended “religious” function)
We do not understand why the TTD representative announced that the chief guests at the competition were… the chief of Chennai police and the chief of the Airports Authority of India. The dancers were neither criminals nor did they want to fly aircraft. It took a record 7 hours for the TTD to announce the winners (obviously, after strong, behind-the-scene, political debates between the chief policeman and the chief Airport authority). TTD’s Mr.Srinivasan said to K., “If Natya Shastra lays down the criteria of who can be a chief guest, I must tell you that I don’t care. TTD does not follow any shastras. TTD is a religious ogranization that is guided in its mission not by the Hindu scriptures but by the latest circulars issued by the atheist business and political community“.
The results of the Natyarangam and the MCC’s competitions were available immediately (within 15 minutes after the end). The reasons were very simple. For example, to keep some visibility of decency , Natyarangam’s Sujatha Vijayaraghavan specifically asked the parents and the gurus not to come and speak to the judges (Natyarangam members were exempt from such an exception, for some reason) while those were tallying their scores (and swearing loudly, we guess!). All the tallying at the MCC was done in the PS school’s corridor, in the open view of a few participants who were still present there.
Ramya Sudarshan (a student of Latha Ravi) got the 1st prize at the MCC competition in the seniormost category, where she was perhaps – at the most – very marginally better (the choice of item was perhaps a bit more interesting) than Suvasani Kannan who got the second prize at the MCC. The agile and expressive Jyoti, the best student of Chitra Subramani, did not get any prizes at the MCC, even though she danced very well. The two boys who came were not able to dance at all, which annoyed the judges, Madurai Muralidharan and the other judge, so much that they took pains (the judges rarely do it) to explain to one of those useless guys his uselessness and teach him a lesson right in front of the other contestants.
The winner of Natyarangam’s senior group (18-25) competition’s 1st prize was Suvasani K. The second went to S.K.Lavanya, a student of Sasirekha Rammohan (who did not send her charming Sheha Ramachandran to the varnam category). Mamta Rao and Anaga Bharath, who used to be very good, this time were below the high expectations and above a normal weight. 😦 V.M.Supriya and Madhurika were even worse, but not as bad as Yashini Shankari, Gayathri Vaidyanathan, Vishambara and Srividya Manikandan (these were total cows!). The overweight and clumsy dancers had to swallow a bitter pill: the 2 slimmest and most agile contestants were at the top of Natyarangam’s competition in the senior category.S.Sairam proved that men are no match for women as far as Bharatanatyam goes. Why didn’t such far better male dancers as S.Krishnan (of Ritanjali School Of Arts) care to participate?
Curiously, some students remain some of the strongest prize-hunters (and are among the most visible on the Internet!):
the 1st prize at MCC in the 13-15 y.o. group was given to Varsha Uma Balabharathy;
the 1st prize at MCC in the 10-12 y.o. group was given to a previously unknown Sandhya Ramesh;
the 2nd prize at MCC in the 8-10 y.o. group went to Mridula Sivakumar
We have just received an angry comment (we quote a moderated piece of it, removing the nonsense and grammatical errors 🙂 and insert it here instead of letting it get attached at the bottom of this lengthy review) from Anusha Gopalakrishnan of Chennai:
“It’s not fair and very demoralizing for the other schools’ students to read this blog’s entry stressing the rising virtual monopoly in the Bharathanatyam competitions field since another big school, Bharathanjali, regrettably lost its stature a couple of years back. I fully support Natyarangam’s policy that the big schools must not be allowed to usurp all dance competitions by sending more than 1 contestant.
How harmful it is? In the past 1.5 months there have been 5 dance competitions in Chennai. In your review you write about 3 competitions, but do not mention that SN’s dancers, Uma Ramachandran and Shravanthi, were the winners at the other 2 Bharatanatyam competitions that took place the day before the Music Connoisseurs Club’s competition. These competitions were
A) Chennai district’s competition of National Bala Bhavan, and
B) Chennai district’s competition of the BSNL Cultural & Sports Wing
If 2 competitions happen on the same day, how can a smaller school find the number of strong contestants to match the big schools’ dancers?
We strongly protest against such practices and will seek the abolition of such judgment parameters as choreographic quality and music quality. It is not fair if SN dancers win because they demonstrate better choreography and can afford to bring studio-recorded music!”
a piece and how it is performed are two different things. I mean, you can have a brilliant dancer perform a mediocre piece. And you can have a fairly good dancer perform a piece that is a great composition.
The tiny 16-18 y.o. group at MCC had hardly any contestants at all (they are all busy with their 12th Standards and entrance exams!!!). The most impressive was Madurai Muralidharan’s H.Ranjini, even though she forgot that some steps have to be done with both feet, not just with one! 🙂
3 competitions: different approaches and different results! 🙂
Competitions are merely an external motivational factor. The dancers want to achieve success with some degree of success in competition with others. The dancers with poor motivation experience relief that they have avoided a failure. They do not enjoy or seek feedback.
The intrinsically motivated dancer will
1. prefer challenging tasks
2. respond with effort and persistence after failure
3. be creative and expressive
4. have a high self-esteem
The achievers, thus, establish very difficult but realistic goals and actively pursue them, even take some risks. They experience intense satisfaction from success, and maybe pride. If they feel they have tried their best, they are not bothered by failure. They prefer tasks that have clear outcome. They prefer to receive a harsh feedback from a competent critic than from someone who is friendlier but less competent. They like to struggle with a problem than seek help.
Women are more interested in goals that relate to social interaction. Women are more likely to feel good about their interpersonal skills than concrete achievements. Men who succeed believe they have done so by virtue of their abilities, while women believe they have been lucky.
Although, unlike Sangeetha, I do not really like the idea of being a merely re-poster of some stuff found elsewhere, I will nevertheless incorporate this review (“Bharatanatyam competitions of Natyarangam in Chennai”) here – with our (indented and bold) comments, of course!!! 🙂
———————————————————————————————- Contrary to the announcement published in Kutcheribuzz stating that the number of participants in each category would be limited to 20, in reality there was no limit in the Jatiswaram category. After the number of applications reached 42 in the varnam category, Natyarangam decided to cap the number of applications on a “one student per guru” basis, which reduced the number of the eligible candidates to 25, 4 of whom did not turn up. Perhaps, the democratic and egalistic “one student per guru” basis implied that the “Best guru” type awards are of no consideration.
June 14: Jatiswaram competition for children of 8 to 12 years
The judges, Ganga Thampi, Lavanya Ananth and Rupa Srikanth were introduced according to their height: from the taller to the shorter, probably with a compromise that the last one to be introduced will be the first one to announce the winners. The first prize winner, S Nikita is indeed a good dancer.
The fuzzy video clip that she posted on does not show her best. K. wrote that Nikita (a student of Divyasena) was far more impressive at the TTD competition, her nrittas were crisp, her abhinayas expressive and the footwork neat.
It was not particularly surprising to hear that Rohini, a student of Anitha Guha, got the second prize. According to another contestant, who studies in the same PSBB school in KK Nagar, Rohini was the best one of the 4 dancers. “Rohini is the best dancer in our dance school,” was the comment from another dancer, A J Subashree.
Rohini Rammohan took part both in the MCC and the TTD competitions, where she was not particularly impressive in the nritta part.
Interestingly, the first and the second prize winners were among the first 4 performers out of 28. I remembered my mother always told me, “At any oral exam, you should try to go in first: normally, you will have some advantage.” Rupa Srikanth praised the “surprisingly” high level of mastery of the contestants. Perhaps, the judges were so impressed at the very beginning, that they were marginally more favourable to the first few performers. To avoid such surprises, Rupa Srikanth could ask the Friday Review’s publishers to include the reviews of the younger performers more often: the children deserve it, and need it more than the senior dancers.
“All the participants today deserve the first prize,” announced Rupa Srikanth. The little girls’ ears drooped as they heard this politically correct but incredible statement. Their eyes turned to their parents, begging for an explanation, probably perplexed how on earth Nikita and Rohini could be overall better than A J Subashree, Mridula, Ratna Ramesh, K V Shivatmika, or Vinisha Karthiravan.
K V Shivatmika proved to be quite mediocre at the TTD competition.
When I asked a few of them if they would agree with the judges’ decision, these outrageously candid little girls were unanimous: NO. Their eyes were very sad. I felt a bit uneasy and thought that, instead of advertising their workshops, Natyarangam could instead have provided a feedback session where the judges would explain to the contestants their marks and point out the dancers’ strengths and weaknesses. That is, if the judges made any notes. Otherwise, when the participants are not convinced by the authoritative judges’ verdict, what is the value of such authoritativeness from the contestants’ point of view?
“They are too young to understand the nuances of the technique and assess their performance objectively,” said a Natyarangam’s committee member. “Well, they are old enough to understand who dances better and who dances worse,” objected another spectator. Indeed, while some of the contestants made the crowd turn quiet, other contestants made their spectators turn their heads away from the stage and indulge in light gossip. Why would that adult-looking contestant eagerly take out her Handycam as soon as Mridula came onto the stage?
This is Mridula Sivakumar who got the second prize at the MCC competition. The first prize went to Kavya (Anitha Guha’s unusually fat and clumsy student who has reasonably decent abhinaya though :).
This is Mridula 2 years ago, I guess:
Why didn’t she want to shoot B M Akshaya Lakshmi? Why did another girl take out her mobile phone and was recording Subashree’s performance and was not particularly interested to watch K Vaishali?
I was wondering if, next year, the Natyarangam’s judges are going to be embarrassed in the same way as at some incidents at Kerala Higher Secondary Youth Festivals where 5-6 contestants, who had obtained the video of the previous year’s winner’s item, had the impudence to perform this same item with the identical choreography.
You are going to hear more about scandals at the Kerala Higher Secondary Youth Festival’s competitions.
In the absence of Natyarangam’s archived videotaped records, it would be impossible for a contestant to prove the copyright of the original choreography.
The judges indeed had a very hard job selecting the top 2 contestants. While such contestants as A J Subashree, Mridula, Ratna Ramesh, K V Shivatmika, Vinisha Karthiravan, or perhaps even R Abhinaya and E Aishwarya Lakshmi were surely not worse than the first two prize winners, there were others, such as B M Akshaya, Y K Aishwarya or Shwetha Mahalakshmi, who were clearly far behind the other contestants. Rupa Srikanth mentioned the names of Shafali and R Ananditha as the ones who could have won the prizes too. While the petite charismatic Shafali surely deserves it fully, Ananditha, like H Shreya or Akshita, could only marginally be included in the first league.
Shafali did not win any competition’s prizes for one simple reason (her guru’s approach): she has only 1 expression on her face.
Yamini Devi, Gopinath’s student, was nearly as impressive as Subashree.
Criteria and marking
Some of the parents said they had an impression that the individual judges’ marks are to remain a big secret and would never be disclosed to the contestants. Perhaps, they did not want to embarrass the judges asking to substantiate their marks. Otherwise, the vague general statements do not always sound very convincing. The judges were to divide the “Angasuddhi” criteria into 2 sub-criteria: “General” and “Hands.” Well, I had always thought that angasuddhi included the overall co-ordination and synchronization of the hands with the rest of the body. The judgment criteria included a cryptic “Presentation & package” column, which seems to cover the make-up, costume, choice and quality of the recorded music, complexity and originality of choreography, and god knows what else. Another criteria was “Grace.” I assume it referred to Rekha.
Wrong: “Grace” means “Anga-Madhurya” and is related to “Lalita”.
Curiously, “Grace” is the term that I don’t remember Rupa Srikanth using in her reviews of the senior dancers’ performances. What about the term Angasuddhi? You will not find it even with a microscope. One may wonder then why the “Bharatanatyam recitals” that totally lack both Angasuddhi and Grace somehow manage to be reviewed in the Friday Reviews. Perhaps, the senior dancers thing, “After all, who reads Abhinayadarpanam or Natya Shastra today? Who cares about what is written there? Who knows that the dancer, according to Abhinayadarpanam, must be youthful, slender, beautiful? How many little dancers’ parents or even gurus know what is “Javaha”, “Rekha”, “Sthirathvam” or “Drishti”?”
It occurred to me that when Rupa Srikanth said the the little girls displayed a surprisingly high mastery, she could mean that none of the elderly dancers who occupy the Friday Review’s pages can dance Jatishwaram so well anymore. Perhaps, as Mukundagiri Sadagopan suggested in his letter published in Kutcheribuzz, Rupa could re-qualify the senior Bharatanatyam dancers as Katha Kalakshepam exponents?
While many of the girls displayed remarkably vivid, graceful, varied and genuine facial expressions at their nrittas, yet it appears that abhinaya was not counted, leave alone such time-proven criteria as Javaha or Drishti.
Natyarangam gives the winners an opportunity to perform in Narada Gana Sabha’s mini hall – as a talent promotion.
Well, this time the fraudsters from Natyarangam cheated the winners: neither Nikitha nor Rohini were given a slot to perform!
But what is the value of such a promotion? A disappointed parent said, “It is not a problem for 2 dancers to pay the rent of the mini hall for 3 hours and give performances: the orchestra fees are much higher than the rent, anyway. What matters to us is how many people will come and watch these performances”.
The opportunity to perform is still considered as the key element in promoting young dancers. However, if 90% of the (normally scanty) audience who come and watch such performances include the dancer’s relatives, friends, schoolmates, parents’ colleagues and neighbours, what is the promotional value of such an opportunity? “You see, my 8-year-old daughter’s Bharatanatyam video we uploaded on the Internet a year ago has been receiving more than 5000 views a month,” smiled one parent. “How does it compare with 50-strong audience at a Natyarangam’s program?” she asked. One of the top contestants’ father, when asked if they can imagine Natyarangam posting the video of the competition on the Internet, commented, “It would be great! I am sure it would support and re-assert the judges’ authority too, as they were up to the mark today.”
June 15: Varnam competition for children of 13 to 18 years
While the Jatiswaram competition gave the contestants 5 minutes, the Varnam offered 7. And the judges were Priya Murle, Manjari and Sujatha Srinivasan. The contestants in this category too had no idea of what the judgment criteria were here. Just as it was the case with the Jatiswaram competition, in the Varnam category too, the winner was the first dancer who danced far better than the few preceding dancers. It seems that it is not only the level of the dancer’s performance but the order of the contestants that determines the winner. Few were watching Rahij Ramsharan’s dance. Next, you could see much higher standards in V Kripalakshmi’s performance, if it were not for her fixed smile and arms bending to 230 degrees when there should have been 180. R Keertana was marginally less impressive, and V Soundarya demonstrated that a girl doing nritta in a tandava style and making a thousands of shortcuts may not look particularly impressive. The next was R Reshma Krishnan’s slot, where she demonstrated very good nritta and overall danced somewhat better than the previous contestant.
And next…. was the winner: S.Sahana. While her nritta was abundant, in rather simple, straight lines, I bet she had rehearsed this fragment so well that every move was chiseled and had a professional-looking finish, the moves were absolutely crisp, and everything looked absolutely perfect, including her abhinaya. She was a head above all the previous contestants. No wonder she impressed the judges.
Sahana (a student of Sikkil Vasantha Kumari) has, first of all, 10 times more colors in her palette of abhinaya than most other contestants. Sahana was the only dancer with a “live”, rich, exuberant and bubbly abhinaya at the TTD competition’s seniormost (13-18) group.
Next was the second prize winner, Jai Quaheni. Even though her nritta movements were very limited and quite simple, each of these movements were very well polished.
Jai Quaheni won the 2nd prize at the MCC competition too. As for the the Natyarangam competition…. Well, Jai Quaheni is Chitra Visveswaran’s student, so the Natyarangam competition’s judges did not want to disappoint the VIP… Chitra Visveswaran was the guru under whom Sujatha Srinivasan had her arangetram. Any more questions?
And, thanks to Uma Nambudiripad’s tuition, Jai Quaheni’s abhinaya was powerful, profound, realistic and convincing. Sudharma Vaidyanathan shared the first prize with S Sahana. Sudharma won Natyarangam’s last year’s Jatiswaram, and has grown one year older.
For those who don’t know the undercurrents, Sudharma is the daughter of Chella who does all videography for… the above-mentioned judges. In addition, A.Lakshman is a close associate of Priya Murle, so she could not… You know!
Despite the fact that she underwent a surgery half a year ago, she was in excellent shape and the way she performed was very similar to S Sahana’s. Sudharma had one big advantage: even though her nrittas and nrityas were not particularly intricate, nevertheless the jathis that she started with, created by A Lakshman, were composed in a very original way, and the audio, obviously recorded at a studio, was very original too: an intricate combination for solo passages for nattuvangam, mridangam, sollukattu – and the pauses that caught the spectators’ (and the judges’) attention.
Most (stupid) dancers do not understand the importance of good music!
The would-be winners
The judges mentioned Swathi Ashok and Medha Hari as the contestants who could potentially have won the prizes. In fact, Jai Quaheni and a few other contestants too thought these two were going to win the prizes. So, why didn’t they? Swathi Ashok had the greatest stage presence and the most accentuated and powerful movements among all the other participants. Swathi Ashok’s guru, Urmila Sathyanarayanan (the other contestants’ gurus did not turn up), was sitting in the last row and perhaps could not see well what the judges noticed very clearly: that young Swathi’s abhinaya was quite superficial, quite artificial and rather unconvincing. The older Medha Hari’s performance displayed this shortcoming too, though it was not as obvious.
For those who do not know the ubiquitous Medha Hari, I suggest to compare 2 sets of her video clips on YouTube: the ones of 2002 and the ones of 2006 (you’d better get her DVDs). See the difference and the effect of the infamous “clone molding” she got at Bharathanjali.
A recent review of Medha Hari’s performance on ChennaiOnline reads “Her araimandi, attami, mudras needs a special mention as she was just too perfect” while the sad comments are like this: hi medha! my friends were very impressed at your recital, and nritta especially! but also they expected to see beautiful araimandi lik you had few years back…
Medha Hari’s jathis, for some unknown reason, did not include the ultra-fast and complex nritta that helped her win the first prize at this year’s Indian Fine Arts competition. However, Medha’s movements were clean and clearly defined, while Swathi kept her feet too wide apart in araimandi and could not do atami properly. Another possible runner-up was one of the youngest participants, Harinie Jeevitha, who demonstrated a very original style and the most intricate nrittas and nrityas that, perhaps, needed a larger space than the meager 10 square metres of the mini hall. Her nritta movements still need to be polished to gain some more finish and precision. Harinie’s abhinaya was a bit too strained and overdone. The 13-year-old Harinie did not understand that she was dancing literally under the judges’ noses, hardly 2 metres away from them. The closer the spectator is to the dancer, the greater impact the abhinaya will have.
Natya Shastra says that the judges have to sit 6 metres away, in front (not at the side, like the TTD competition was arranged) of the dancers.
I guess the reasons that Medha Hari and Harinie Jeevitha did not win are simpler: none of the 3 judges appreciated the modern masala style of Medha Hari (on her web site they wrote that the style includes elements of Pandanallur, Vazhuvoor and Kalakshetra, but they are using Sudharani Raghupathi’s jathis, and many Mohiniattam and Kuchipudi elements!), nor were the judges familiar with the standards of the rarer, Melattur style of Harinie Jeevitha (who does it with a lively Kuchipudi flavour).
The lowest common denominator, Kalakshetra, rules! 😦
The competition was quite tough. S Akshaya’s performance level was very marginally lower than the runner-ups’, followed by Nithya Subrahmaniam. Aparna Jayaram demonstrated a yet lower level of proficiency, followed by Poornima Balasubramaniam, Divya Sanpath (who brought the most horrible and noisy audio tape) and Reshma Krishnan. Shravani Joshi, for some reasons, could not demonstrate as high a standard as she did at last year’s TTD competition. Her movements were very constrained and looked quite weak. N Gayatri and S Ananthashree were quite mediocre but not as bad as C.Tara or the last competitor, who made the tired judges eager to end up the event as soon as possible. Their prayers were answered: neither Aishwarya Raghu, nor Divya Malayappam, nor Nithya Ramasubramaniam, nor Sanath Kumar turned up.
Sanath Kumar was the only boy who came for the MCC and for the TTD competition. He is quite tall and extremely lean, like a broomstick. 🙂 His footwork was reasonably good.
The competition revealed a winning recipe for the top contestants: to win a prize, (1) Be one of the first 5-6 contestants and (2) make sure that, out of these 5-6, the others are the dancers who dance much worse than you do. The prize is yours.
Not quite. You need to select the item that would be suitable for the particular space!
There was indeed a very marginal difference between the top 5-6 contestants in each category. It is the individual judge’s weightage of the various sub-criteria that determined the winners. This weightage is not something that every judge is well aware of. For example, would one dancer’s perfect araimandi and mudras count more than another dancer’s agility and flexibility? What type and tradition of mukha abhinaya would be considered more favourably? Would a wide-range, accurate atami weigh more than the full-range, accurate footwork? Will the adavus performed in one style be given more marks than the adavus performed in another style? Indeed, would a particular judge consider the fully-lifted heels in Kudhitametti’s sixth step as more impressive (and how much more impressive?) than the half-lifted heels? How will it be reflected in numbers? We don’t know.
Had Natyarangam taken pains to print out a few awards for the dancers, such as “Special award for abhinaya,” “Special award for Nritta,” etc., and for the gurus, like “Special award for choreography,” more of the young dancers would receive what they need most: appreciation. It would be conducive to create the atmosphere of trust and mutual respect. The gurus would not complain that the judges’ decision was politically motivated.
It was interesting to observe that some of this year’s 1st prize winners, such as Medha Hari (1st prize at the Indian Fine Arts competition) or Harinie Jeevitha (1st prize at the all-India level competition in Hyderabad) did not win any prizes at Natyarangam’s competition, even though Medha Hari, along with Swathy Ashok, did receive a special mention by the judges. There are many reasons behind it. One of these is that, as we know, every dancer has his /her own favourite item or fragment that he / she performs the best, and it is not necessarily a Jathiswaram or a Varnam. Will Natyarangam hold a Thillana, a Kauthuvam and a Swarajathi competition next year? We don’t know.
The judges highlighted another reason: the children cannot do their best while dancing to the recorded music. While the Indian Fine Arts competition or the Music Academy’s Spirit of Youth provides the dancers ample time, more space and the support of a live orchestra to showcase a few different items that gives the judges a chance to make a comprehensive assessment of a particular contestant’s full range of strengths and weaknesses, a 5-minute fragment from a Jathiswaram or a 7 minute passage from a Varnam in Narada Gana Sabha’s tiny Mini Hall will not give the judges an opportunity to make a well-founded decision. This is why the judges clearly stated, “We are not judging how good a particular dancer is: we are judging today’s performances only.” Will most of the dancers tend to interpret it this way too in the absence of the judges’ specific comments? This is a big question.
Most of the contestants left unconvinced by the judges’ verdict. “I don’t think the judges are willing to explain and substantiate their assessment,” said one participant. Had each of the judges spared 20-30 seconds to comment on every contestant’s performance immediately after it ended, this competition would have not been considered as a waste of time by most of the participants. The absence of such comments and clarifications does not enhance the judges’ authority – on the contrary.
There is one thing that the organizers of almost any Bharatanatyam competition, and even more so the judges, are scared of. They are afraid of exposing the inadequacy of the judgement, and therefore would never even think of recording on video the contestant’s performances, even if these are mere 7-minute fragments from jatishwarams or 12-minute fragments from varnams. Maintaining such video records – even for the internal purposes, locked safely in Natyarangam’s archives – would pose serious risk to the reputation of the judges in case of an appeal, as they do at some Bharatanatyam competitions in Kerala, for instance. Appeal? Not with Natyarangam.
Unlike, for example, some Bharatanatyam competitions at Kerala Higher Secondary Youth Festivals, Natyarangam’s competitions envisaged no place for an appeal, as no video records were made and kept in Natyarangam’s archives for internal purposes, allegedly, due to some gurus’ objections. Such objections, though, do not sound particularly valid after a recent slew of TV broadcasts of full programs of full-length Bharatanatyam recitals recorded at various festivals as well as in the TV channel’s own studios.
Thanks to Narada Gana Sabha’s reputation, the competition attracted many young talents from Chennai’s Bharatanatyam schools. It is a pity we saw only 50% of those who applied for the Varnam competition. We don’t know why such potentially strong contestants as Anusha Narendran’s Bhargavi, Shobana’s S Anuroopitha and Shivani Shandiliya, Vijay Madhavan’s S Sri Gayathri, Roja Kannan’s S Sivasri, and many others apparently did not apply at all. Most gurus keep ignoring Natyarangam’s competition. Nevertheless many of the names listed above will determine to a large extent what the Bharatanatyam landscape will be in 10-20 year’s time. Perhaps next year Natyarangam could bring this competition to a higher standard, so that more participants would give it more importance, and fewer of the registered competitors would fail to turn up.
Sujatha Vijayaraghavan became the Music Academy’s committee member in order to ensure that her own daughter, Swetha Vijayaraghavan, became the winner of the Music Academy’s “Spirit of Youth” festival-competition in 2007. Here is the poll :