August, 2011
Do you think that our art forms need to be preserved? Wait! Before you dismiss this as a question of a sceptic, let me assure that I am an ardent worshiper of dance, devoted enough to make an entire career of it. So before you ignore the question all together, do give this article a read and reconsider the question once more.
The context for this question is an interesting weekend show by Bharatagama Pratishtana & Sangeet Natak Academy. On 23rd and 24th of July, this organization put together a rather interesting program that featured all the styles of Bharatanatyam indigenous to Karnataka. The event spanned two whole days, morning and evening, including presentations, discussions and performances, all aimed at showcasing to Bangalore audiences the rich heritage of Bharatanatyam in Karnataka. I had three realizations during this event. The first was just awe at the antiquity of the tradition in Karnataka, the second- an epiphany about an alternative view on our identity and the third, and the most thought provoking of all, was this question on preservation. I will explain each of these in a little bit of detail before diving deep into this intriguing question of mine.
The first thing that struck me at this event was how far back in the past this journey leads us. The Bharatanatyam culture in Karanataka seems to date well into the medieval ages.
Guru Lalitha Srinivasans’s students presented a highly polished Suladi belonging to Mysore tradition. These pieces go back to the Vijaynagar Empire. Similarly Smt. Radhika Nandakumar presented a Goundali , which is a repertoire exclusive to Karnataka. Dr. Tulasi Ramachandra presented a Perani, pieces that were prevalent in Karnataka & Andhra and now extensively reconstructed in both states. All these pieces are ancient, predating the Tanjore Quartet.
Add to the above rarities, were unique pieces called the Poorvaranga Vidhi. These are unique items very unique to this school of Bharatanatyam and include a Sholaka, some jatis and a Choornike, which is often in praise of the king. Disciples of Guru Shakuntala, grand daughter of K. Venkatalakshamma, presented a Poorvaranga Vidhi that were being frequently performed at the courts of Mysore. Students of Guru Lalitha Srinivasan also presented a Poorvaranga Vidhi that seems to have similar ancestry, but this time part of the Moogoru tradition. To the uninitiated, the variety of the repertoire of the styles in Karnataka was a pleasant surprise.
The second thing that caught my attention was a very different aspect of these presentations – the attitude of medieval Karnataka. It seems like medieval Karnataka was nothing short of Cosmopolitan. Through the two days, we saw presentations in Telugu, Kannada, Hindi and Sanskrit. Bharatakalamani Guru Radhakrishna’s students presented an actual Thumri. Thumri’s are pieces performed in Kathak and it was such a pleasant surprise to see it being rendered in Bharatanatyam style. Guru Lalitha Srinivasan’s students presented an Ashtapadi that seemed to be heavily inspired by Odissi. On one piece I even saw a head piece that resembled the one’s used in Kathak!
I hear many argue that in order to establish our identity, we need to focus on use of Kannada. But medieval Karnataka seemed to draw its identity, not by use of a single language but by it’s open minded, cosmopolitan attitude. Makes me wonder why we in modern Karnataka feel the need to clutch on to our language as a source of our identity. So what if other states stick to one language or another? Why can our identity not be our ability to be absolutely broad minded, adventurous, avant garde and an embodiment of national integration?
My third realization sprung off the pieces Guru Lalitha Srinivasan’s students presented - several modern pieces, under the same banner of this festival. This was the most heartening part of the entire event for me. I often find that when we talk about our dance form, there is immense focus on the traditional pieces and new pieces are almost blasphemous. I almost see trepidation in dancers to do something new.
Sometimes I wonder if the worst part of the British rule was to alienate us from our own ancestors. Often I hear of people talk about our ancestors as “them”. Many of us seem to view our arts as a hand down from “them” to “us”, that we need to “preserve”. This evokes the image of a museum piece in my mind, that sits on a shelf collecting dust. To my mind, we are a part of a continuum, one with our ancestors and Art is a co-passenger in our journey of life, helping us effectively and beautifully package relevant social messages in a powerful way. I see Art as something that empowers us and as something we need to nurture along the way – an ever-evolving medium that travels with us, speaking to us and on behalf of us. If we view it as a delicate relic that needs just to be preserved, are we not in the danger of allowing it to stagnate and gradually losing relevance all together?
So, back to my three realizations – The immense sense of pride on the age old rich Bharatanatyam legacy of Karnataka; The joy at seeing how progressive and open minded our ancestors were and a yearning to carry on that tradition, instead of a seemingly jingoistic language based politics in our art; and finally, a provocative question of “preservation” Vs. “nurture” being the right attitude towards this Art of ours. In my mind, I am clear on how I want to embrace my Art and I request you, rasikas, what would you like to do? Put Art in a proverbial museum or become custodians of a historically powerful medium and nurture it to grow with you and the society around you?
This Article was Published in Ananya Kala Sinchana September 2011 Issue. Click here to read article on page 34
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