Bharat Kalachar’s titles. Anita Sivaraman. Anitha. Bharatanatyam. Bharata natyam.Bharatnatyam. Bharathanatyam . Classical Indian dance and dancers in Chennai. Bharatanrityam

Bharat Kalachar

(this is related to our post on Anita Sivaraman)
Remark: I don’t know why dancers post on YouTube the worst or most boring fragments from their recitals!

If you attended Anita Sivaraman’s recital at Bharat Kalachar, you would understand that she is a “perfected” and refined form of Swathy Ashok, if we can say so. This time her abhinaya was indeed more profound, and evoked the vivid images of the stories. I think that this vividness comes from the colourful and lively techniques of Kuchipudi and Srikanth’s style of Bharatanatyam that she learnt. Which is one of the main reasons Savithri Jagannatha Rao and Radha did not like it (as well as the presence of karanas) at the Cleveland competition.

Anita Sivaraman

Anita Sivaraman

It is not just a matter of style but a matter of how expressive your face is. Anita’s face can produce thousands of nuances of fast-changing expressions and as many degrees of intensity and saturation. If your palette is not rich…. Set your monitor to 256 colour palette and open your own photo. Will you like it? No-o-o-o-o-o-o-o…

If you know another dancer of Anita’s age who has personally choreographed all of her items, let me know: I will be surprised. In her choreographic genius, Anita manages to squeeze up to 5 times more detail in the same passage than an average Bharatanatyam dancer in Chennai.Drink the 100% orange juice, and then drink a 20% (diluted) orange juice that is available in most shops in Chennai.Or Delhi. Priya Venkatraman’s recital (a very good one, by the way) felt quite insipid – after watching Anita’s.

The elaborate richness of Anitha Sivaraman’s abhinaya nuances is intimately connected with her state of mind and her imagination. “Internalization” is a dancers’ term for it, and here, to be frank, there is quite a scope of improvement in Anita’s case. This is what makes the clear and lively images appear in the rasikas’ minds. Actually, not only minds. The Tantrics of Andhra are notorious for materializing things by power of their imagination. Know Sai Baba of Puttaparthi, eh?

On top of that, the sheer variety of rhythms, jathis, mudras and even karanas (there could be more of these, though, and a couple of them could be done more fully – like this) keeps our attention glued to the dancer (very important in case of the easily distracted American audience). Interestingly, I asked 2 well-known Bharatanatyam gurus about their analysis of certain small and distinct passages from Anita’s items. The gurus passed some general comments (Nice, Great, Beautiful, etc), which showed that their minds were clearly not in an analytical mode: they were just lost in Anit’s joyous dancing. Anita’s enthusiasm was so infectious!

In the beginning of the varnam, she depicted the dances of Shiva and Parvathy with finesse, although the quick transitions from tandava to lasya need to be perfected and made sharper and clearer. The choreography was simply superb. However, the dancers have to understand that watercolours are not quite suitable for Bharatanatyam: after Anita finished portraying Ravana, in a couple of instances she could not change her expression to Shiva’s as fast as she planned, so there was some leftover expression on her face. I suspect Anita is planning to become the fastest dancer in abhinaya. Curiously, I noticed that the faster you speak, the faster you can move your face. Want to try? 🙂 It is related to the proportion of tamas in your system.

Combining two themes (Ravana’s lifting the Kailasa and Nanadar’s path to the realizatin of the Shiva) in one varnam is questionable. Why not split these into 2 separate items? Yes, both are about Shiva, but…

Anyway, whether Anita realized it or not, she – along with the orchestra – did manage to bring the presence of Shiva much closer to the rasikas. One of the best realizations of Shiva’s nature that I have ever seen! Nobody was chewing chips or talking on the mobile. Everybody, even the gate keepers standing with open mouths, was engrossed in the highly spiritual experience. I think Anita is the most popular dancer in the US temples.

Muralidharan shook off his customary laziness and did a good job of instrumentation of the music so that it brought out the essence of the topics Anita was depicting. He created most of the jathis too.

The musicians were marvelous! What the orchestra did was to vary the tempo (I am not talking about kala ) gradually in most pieces. A typical Bharatanatyam dancer sticks to 3 flat (even) kala, but few manage to achieve a variety of tempos in each kala. In Anita’s thillana in particular, no single tempo was held for more than, errrr, 10 seconds? In other words, the tempo was constantly changing, practically all the time. Towards the end (5-10 seconds before) of each piece there was a significant change in the totality of the music, which emphasised the culmination of each item. Normally, the ending of items are not so clearly defined. I think here we have some western influence, but so well integrated into Anita’s items that it looks natural.

Sometimes I did not know whether to look at Anita or at the musicians. Take K.S.Sudhaman, for instance. I have never heard a mridangist who would manage to achieve a greater dynamic range and fit a greater variety of beats into one talam!

On top of that, he was accompanied by a tabla player. Very interesting combination. Preethi Mahesh was nearly excellent, although her voice’s tonal quality need to be cleaned.The veena player, M.L.Narayanan, was doing a great job, especially in the varnam, which was about Ravana playing the veena (remember made of what?). Priya Venkatraman does not understand that the veena (if played by a master) can be by far more effective instrument than the violin.

One thing I don’t like about many musicians and Muralidharan in paticular is how they fleece the dancers regardless whether these are mediocre dancers who deserve such treatment or the outstanding dancers who should certainly be treated differently. You can of course convert your musical talents into hard currency, but if you become too greedy, and a kind of vampire… I feel that gods will not give Muralidharan in his next birth a musical gift to sell. He may rather become a hungry mosquito…. It is a pity to see how money and greed destroys people. Unfortunately, many great artistes believe that their works of art “belong” to them, that they can “sell” them. Eventually, the slender river of inspiration dries out, and these people end up their life without any musical taste left.

“It is the NRI’s who have promoted Bharat Kalacharam, even more than the resident Indians”, uttered the professional speaker Mrs.YGP after mentioning that she conferred the title of “Yuvakala Bharati” on Anita Sivaraman. At Bharat Kalachar, there are no competitions: Mrs.YGP doesn’t like these: there is a risk a non-PSBB student could win the prizes. So, there are only titles.

Mrs.YGP is known to utter some politically motivated nonsense, such as “If X is a good dancer, it is because she is studying in a Padma Seshadri school”, and then “Even though Z has not studied in a Padma Seshadri school, she dances as if she did study at a Padma Seshadri school. She is always welcome to join a Padma Seshadri school”. Well, Mrs.YGP has a hobby of gathering good dancers and musicians around herself (Bharat Kalachar). Mrs.YGP personally persuaded such a well-known personality as MH to join a PS school too. The PS school teachers do not scold Bharatanatyam dancers for low marks. The Bharatanatyam dancers get extra bonus marks for any subject. Want to skip an exam? Ok…. Parava illai. 🙂

Mrs.YGP is too old not to distinguish between a good artiste and a bad one, and occasionally gets quite annoyed when some dance VIP pushes a useless dancer upon her.Well, why did Madam arrive only towards the end of Anita’s slot then??? She knows that, within 5-10 years, she will cross the border of life and enter a world where there is no politics, and no Bharat Kalachar. What I also know for sure is that her sins will be effaced by her good karma, so she will spend a long vacation (before the next incarnation) in a happy world of gandharvas. She will not reach higher. Maybe next time.

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Anitha Sivaraman, exceptional NRI Bharatanatyam dancers, and more about lokadharmi, natyadharmi and the American lasya. Anita.

Anitha Sivaraman, the world’s fastest dancer?

This post is related to a new post on Anita Sivaraman


Remark: I don’t know why dancers post on YouTube the worst or most boring fragments from their recitals!

A beautiful dancer, with a perfect figure, and very graceful too. How can this 6-feet tall girl move faster and have a better stamina than 99% of the Chennai dancers who are 5 feet tall??? True, at the highest speed, she had to sacrifice the amplitude of some moves, and was sometimes making shortcuts, especially towards the end of the recital, as she was getting tired and was not sitting low enough in araimandi. And did not accentuate her steps and nritta hasthas.

It is quite common that the US-trained dancers seem to focus primarily on the physical perfection, and many are good at thillanas, although it was a surprise that Anita’s balance, agility, accuracy of movements, her laya was far superior to 99% of Chennai’s dancers.

What was far more surprising is that it was the first NRI dancer whose mukha abhinaya was superior even to 95% of Chennai’s dancers in the normal speed range, and far surpassed the Chennai dancers’ in the fastest abhinaya passages. I think the ability to do fast-changing abhinaya is related to one’s ability to speak (and think) fast.

Anita’s expressions were graceful, the transitions were smooth and natural, despite the often lightning speed of the changes. Something that I had hardly ever seen in an NRI dancer. Well, Surya Ravi is another pleasant exception, much younger to compare. Anita’s nritta abhinaya was miraculous (I had never seen anything like that!): the expressions, powerful and sparkling, were changing each other at an amazing speed and accuracy, and were matching the nritta so well! Something that dancers like Swathi Ariyapadi are yet to learn.

Nandini Ramani attributes Anita’s impressiveness not to Papanasam Sivan’s genes, but to a unique combination of Padma Subramaniam’s stamp in Anita’s training with Srikanth, and his experience in the Bhagavatamela tradition. But Nandini forgot about Anita’s Kuchipudi training with Vempati Chinna Satyam. What a powerful blend of 3 schools! I forgot to ask Anita if both Vempati Vempati Chinna Satyam and Padma Subramaniam interpret the karanas in the same way! 🙂

Rupa in The Hindu justly wrote that Anita is “blessed with a keen sense of timing, an extremely mobile face and a vibrant movement vocabulary”. Not only this vocabulary is vibrant, but is rich too, and the sheer variety of moves and their unexpectedness keeps the rasikas from falling asleep, especially the American audience who instantly get bored when a Bharatanatyam dancer starts doing a slow abhinaya piece, hardly moving at all.

Anita is using a few karanas too (not as difficult as these). Without karanas, any recital is boring.”From the standpoint of providing enough action and excitement, it was good, but from the angle of providing some depth, the recital fell short”. Rupa cannot explain what is “depth” or “width”. I think often the dancers are left clueless as to what a particular criticism was about! “Width” is about variety and entertaining. “Depth” is about magic and enchanting.

Well, what was somewhat missing was “magic”, or was this impression created because Anita does not seem to like very slow passages? While Anita Sivaraman’s was nearly “perfect” outside, what she could learn from dancers like Alarmel Valli is how to concentrate within. The deeper this concentration, the better the dancer is dissolved in the dance (laya…), and the more powerful the recital. Depending on how well we are focussed within, we are able to visualize the vivid images and project them onto the audience. The approach is different: we are not trying to impress the audience, we are not trying to prove that we are good dancers, we are not at a dancing competition. We are becoming one with the audience, one in the meditation. Perhaps Nandini was luckier than me when she saw that recital where Anita’s “approach to her technique was one of deep concentration”. Maybe Anita’s mind was indeed more focussed then.

But, should we really blame the NRI dancers for the “lack of depth” if even the Chennai dancers, while portraying nayikas-nayakas, think not of the symbols beyond them, but of copying some vulgar Tamil serial’s actresses? How low! It is harder for the NRI’s to understand the difference between a photograph and a painting. There is no art in photograph. Everyone can take a photo. The painting can go beyond the physical, change it, and bring in the invisible. So much the difference between lokadharmi and natyadharmi. Have I seen much real natyadharmi? Errrrrr…. 1% ? Is there at least 0.0001% of natyadharmi in the “British South Asian dance“?

Life in the USA

Let us see what other American girls write:

I’ll admit I was somewhat diffident about performing the piece at all. This was because I wondered whether there was even a possibility to capture such an emotion: the shyness exhibited by a young bride when her to-be husband touches her hand for the first time.

I made several attempts at this expression as my mother repeatedly told me that my expression was far too bold and needed to look more coy. It made me wonder, however, if girls growing up in America are even capable of expressing the emotion at all. Are we perhaps too open-minded and brazen that we cannot portray the timidity expressed by a young bride on the day of her wedding?

“Can the ratisringara themes in Bharatanatyam actually apply to contemporary Los Angeles ? Does not longing, disappointment, anticipation of passionate union and various aspects of love apply to contemporary teenage life in America?”

But as the mother of one of the young Californian dancers notes, “My daughter, at 15, will not reconcile to the fact that this woman is pining for her man. She finds it too ‘cheesy’ because she has been raised in America. The culture is different here, girls are much more verbal and direct here.”

Thus it is the pining, the waiting game with which young girls today can no longer relate. Because they utilize a direct approach in their own love-lives, shyness in the company of the opposite sex is a concept that’s hard to grasp.

So, isn’t it a proof that, for Americans, the nayika bhavas are no longer accessible, and they don’t even understand why or how a soul would pine for a union with the Divine. After all, there is no need to search for God if you have a Social Security Number, a sports car and a fat bank account! America is better than HEAVEN itself! Well, maybe not every NRI feels so.

A typical shortcoming of a US- or UK-based dancer is a poor lasya, but, surprisingly, Anita Sivaraman was good (not perfect, but good) in this respect. Pleasant exception. The Americans’ subconscious mind just does not understand what is lasya, and it is often reflected in the tone of their voice and intonations too. As a result of the feminist movement in the USA, the absolute majority of the women who grew up there are less capable of displaying Lasya. They want to be men, haughty, aggressive, direct. The subconscious attitude is the ready-to-fight-back attitude. These women are ready to assert themselves, to hit back, always on the alert, always competitive, always tense like a fist.

Cleveland Thyagaraja Aradhana: Bharatanatyam competition

Ranjani Murthy, the winner of Cleveland Thyagaraja Aradhana’s Bharatanatyam competition in 2007Ranjani Murthy , is a good illustration for the above, would be fit to act in “Dance like a man”. Does sheever relax her face??? Can she be sweet? Can she enjoy what she is doing??? She thinks that Bharatanatyam is a hard workout at the gym (but, as you see from the picture, she cannot lift her leg even half-way to its proper position), and so her face reflects it.

The funny thing, proving the debilitating influence of the American “culture” is that, unlike in any Bharatanatyam competitions in India in the 19–23 age group “each of the items must be either a Padam or Javali”. These items are usually reserved for the 60-70 age group in Chennai. How Ranjani Murthy got the 1st prize in that all-US Cleveland competition (while Anita Sivaraman, though among the “finalists”, did not even get into the top 3) is a miracle. Although, looking back at the US presidential elections in 2000, we cannot deny the fact that miracles can be the result of the political shrewdness of the NRI community who judicially invited only 2 judges (if you know of any other annual competition where the judges remain the same every year , please tell me): Smt. Savitri Jagannatha Rao and Smt. Radha, one of whom privately admitted that they could not follow and did not quite appreciate Anitha Sivaraman’s dance for several reasons:

  • it was too fast (the judges are elderly women who take 5 times longer to realize anything than a college student),
  • too intricate, unlike the Kalakshetra-style straight lines and plain moves
  • karanas are not yet part of the mainstream Bharatanatyam, nor the lively and expressive Kuchipudi flavour is palatable

Smt.Radha said, “I do remember there was one Anitha Sivaraman. I looked at her several (!) times. She was dancing when I was busy chatting with Savithri”. Radha remembers she did a lot of shopping and bought some expensive things after the competition was over.When asked what marks which dancers received and how, she gave a scared look, said she cannot remember, and ran away.

Pooja Kumar, who did win the 1st prize in 2008 after learning more plain Bharatanatyam under… Savithri Jagannatha Rao (!!!), explained the strategy, “If you don’t have the cash to bribe the judges at a competition, try becoming a student of the judge”. Well, after eeveryone saw how the competition was judged in 2007, no strong contestants cared to apply in 2008, so Pooja was beyond competition anyway. 🙂

George Bush said he is proud of the NRI community. 😦

Want to talk to the two shrewd judges? Here they are:

“Pradakshina”, Savithri Jagannatha Rao, 13, 2nd Crescent Road Gandhi Nagar, Adyar, Chennai 600020 Ph: (044) – 24412624

“Pushpanjali”, Rhadha R, 8A, Lambeth Avenue, Off Bawa Road, Alwarpet Chennai 600018 Ph: (044) – 24997715

“Ranjani Murthy dance”

ranjani murthy dance” is what a lot of people (to my surprise) enter in the google search box before they discover this post. Ranjani Murthy is probably quite annoyed, but will have to bear with my blog until she publicly renounces her ill-gained first prize and until her parents disclose the circumstances under which she got it.

I really don’t understand why the American NRIs blame India as one of the most corrupt countries in the world while themselves are as honest as an average politician in Tamil Nadu.

Until then, let Ranjani Murthy dance!