Adoration of Gods on Stage

 

We have often noticed a practise in cultural presentations where an obeisance is offered to the divine idol that is placed on the stage. Yes, it is a part of Indian culture to seek the blessings of the highest power before commencing an auspicious work but apart from this, there is also a shastric significance as why it is important to do this before we commence a performance. 

During the Natyasastra period when sage Bharata understood and practised the shastra in its entirety along with his students, he then approached the creator- Lord Brahma. As per the Lord’s suggestion, he arranged for a demonstration of his understandings through a dramatic performance. In the festival of flagstaff, boosting the victory of Mahendra the annihilation of Asuras and Danavas was portrayed showcasing the way the challenges were imposed and how the daityas were defeated. Brahma and Devas were delighted with the performance and gave away all sort of gifts to the performers. During then, the daityas who had gathered there were furious and started creating a havoc to the performers and the performing space. Lord Indra rose up angrily wielding the banner staff - Jarjara and all the vignas hovering the stage was beaten to death.  The Devas were extremely delighted at the death of vighnas. From then onwards the prayers are offered to Jarjara to ward off the evil.

Along with this, an arrangement was also done for the protection of Playhouse. Lord Brahma instructed each deity to take care of certain portions of the play house so that no evil can abrupt the play. Example Mood god protects the main building, Wind god protects the four corners, the four varnas have been engaged in the protection of pillars, Mitra will take care of green room and others. Like this each deity was assigned the job to protect the play house and also the artists.

While this was for the play house, there are other ceremonies which needs to be performed before the commencement of the program. The Natyacharya plays an important role to consecrate the playhouse. He has to observe fast for three days and follow the procedure to install the deities. The mandala (mystic diagram) is drawn in accordance with the injunctions at the due place. Lord Brahma is installed in the middle, Shiva to be installed in the east, along with other deities like the sun god, Narayana, Sarasvathi, Lakshmi and others. Like this, different deities are installed in different directions and the puja is offered to them along with the Naivedya. The procedure of Havan is followed with the mantra recitation. Like this, the shastra states a detailed procedures that needs to be followed to avoid any kind of obstacles during the performance.

This tradition of offering prayers to the lord during the dance performances is continued till date. The lord of dance Nataraja idol is placed on the stage and the guru performs the pooja. Though in recent times the offering doesn’t happen exactly as per the shastra yet many traditional gurus follow most of these procedures even now during their performance.  It becomes important to realise that there is a meaning and purpose in the tradition that is being followed. The tradition is not a false belief but it is a time-tested data which can be understood only when one connects back to the shastra.

Abhinaya – The art of expression

 

Emotions are the Vāsanā imprinted in every individual life based on the present consciousness formed through past perceptions. There are different ways of expressing these emotions. It can be either through words or expressions. During the pre-historic times the human life was inspired by nature. They imitated the nature and animals around them i.e. they swayed their body looking at the trees, they started using movements seeing the animals and eventually the voice texture began as they started imitating the bird voices. Like this the gestures were used to express the feeling until language came into existence which added another dimension of expressions.

In art, the language of expressions plays a due role to convey the theme and this is called as Abhinaya. Technically abhinaya means “leading towards”, i.e. the emotions are led forward. The emotions which are deeply rooted inside needs to be expressed and the mode to express is through expressions. There are different ways to express in an art form and they are known as “Chaturvidya Abhinaya – four modes of expression”. Abhinaya, an art of expression is an important mode to instigate the bhava within the artist. Bharata in his Natyasastra has clearly defined the aspects of abhinaya and its importance. They are divided into four types, Āṅgika Abhinaya (the abhinaya expressed through bodily movements), Vācika Abhinaya (the abhinaya articulated through the speech or lyrics), Āhārya Abhinaya (the expressions communicated as the part of costumes, makeup, and stage décor) and Sātvika Abhinaya (the expressions conveyed through the experience of the soul). As human we always express our joy or sadness using movements. We can observe when one is happy, they jump in joy, similarly in dance the body movements and gestures are used to portray different expressions. While this is one way of expressing the other way of expression is through words. In a human we can observe that the expressions can be seen through the tone of voice which also defines the mental state of an individual. These expressions come through words. In dance, we use lyrics to convey the feelings of the characters portrayed, to which the music complements. The next expression is through costumes and makeup. How, wearing an outwear reflects the personality of a human similarly the right costume reflects the personality of the character in the play. Makeup is an additive feature that adds to the character define. The final resort of all the above expressions is the Sātvika abhinaya, the expressions conveyed through the experience. This is an involuntary emotion which arises due to deep sathva like shedding of tears, the colour change, trembling of voice and others which one experiences in day-to-day life. Thus, art and life are no separate entity but Art is the reflection of life thus being a powerful medium to express the thoughts and emotions. Abhinaya is an art of storytelling, a powerful tool to convey the emotions which leads the audience to experience this spiritual bliss. Dance is a visual poetry connecting the artist and the spectator sharing their emotional journey.

Remembering Rukmini Devi Arundale

 

Fondly known as ‘Athai’, it was she who ushered in responsibility to the art of Bharatanatya which was once upon a time confined to only Devadasis. Rukmini Devi Arundale, a Bharatanatyam pioneer, scholar, theosophist was a catalyst for the renaissance of the Bharatanatyam which has now gained a respectable position and considered a divine art form. Born on Feb 29^th 1904, to a scholarly couple Sri Nilakanta Shastri and Smt Seshammal in a Brahmin family, she was always surrounded with the cultural learning and background since her childhood.  This year celebrates 120^th year of her legacy.

It is during 10^th century onwards that the classical art forms grew rapidly through the patronage of benevolent Kings and with contribution of eminent artists, various styles and genres of traditional art forms started taking root.  It was during the British and Islamic period just like any other Indian art, the classical art forms too witnessed a dark age. There was a total prohibition of the art form in temples and public places. The situation went to an extent where eventually the kings court could also not support the growth of the art forms which led to the deterioration of the art.

The political situation and Muslim invasion prohibited the patronage to the artists. The art which was a sacred ritual began considered as a means of recreation due to which the dancers were not respected and thus it hindered the progress of the art forms. Devadasis were looked down upon as courtesans. The government had passed the “Devadasi bill” to abolish the system. Though eminent artists of devadasi family joined “Self Help Movement” and worked to safeguard of the tradition and the art, in 1947 the tradition of employing devadasi was legally abolished in Tamil Nadu. The art had reached to the stage of extinction.

Surprisingly the famous Russian ballet dancer Anna Pavlova during her India tour witnessed the devadasi’s dance and when Rukmini Devi approached to learn Ballet from her, Anna prompted her to learn her own Indian art form. Rukmini’s entry to dance created a new chapter in the world of Bharatanatyam. She practised under Mylapore Gowri Amma and Pandanallur Meenakshi Sundaram Pillai and it is her first public recital in 1935 which changed the entire course of Bharatanatyam. Many artists joined hands with Rukmini and finally the entire approach right from the music, artistic costumes, presentation and the spiritual significance of the compositions on the whole revived Bharatanatyam which was till then known as Sadir. It is said that, as it was the sage Bharata who gave this art it is called as Bharatanatyam. Some opine that as it belongs to the country India it is Bharatanatyam and also it signifies the confluence of Bhava (Bha), Raga (Ra) and Thala (Tha) and that’s how it is Bharatanatyam.

Rukmini Devi Arundale is the founder of “Kalakshetra”, a cultural art centre in Chennai where she practised, taught, choreographed and presented many dance dramas setting high standards. The Indian Parliament recognised the Kalakshetra Foundation as an Institution of National Importance in the year 1993.

One of the outcomes of this major revival of the art form is its journey from temple to the stage and from devadasis to any ordinary enthusiastic seeker, the reputation of the art form has been raised to an extent that the art is practiced across the world.

 

#Submitted article to Indian News, Auckland, New Zealand

Natyashastra – a compendium on Dramaturgy

 

The term Shastra means, order or direct. That is to say, it is the methodology that keeps everything which comes in its purview under control. This does not mean that it is rigid or restrictive, rather it provides a systematic approach and answers to every possible question that arises in one’s mind. As these answers are also inspired and in conjunction with the natural laws of life, it makes it applicable irrespective of time. One such timeless classic hailed as a “Veda” took birth to overcome the effects of mundane worldly affairs and which is accessible to everyone and also entertaining, providing moral values too was Natyaveda which was later systematised into Natyasastra. The credit of formulating this “Veda” which has the essence of all the four Vedas goes to Brahma. It was Sage Bharata Muni who endlessly worked on this and systematised it into a Shastra two thousand years ago and is in vogue till date. 

The Natyasastra is a comprehensive work of all the elements that are needed for one to stage a successful theatrical production. One of the verses in the shastra says “There is no knowledge (Jnana), craft (Shilpa), science (Vidya), art (Kala), yoga or action (Karma) that does not fall within the purview of Performing Arts”. This says about the depth of this humongous work.  Also, then, poetry, dance, music, sculpture, architecture etc were considered as an integral part of an art rather than separate streams. This is the reason why Natyasastra addresses everything under the umbrella of performing arts which makes it one of the best works. 

Natya, often misinterpreted as dance actually means ‘theatre’ that comprises music, dance and acting. How the natya needs to be presented is discussed in the 36 chapters of Natyashastra which has about 6000 verses. Right from the consecration, the theatre architecture, the offerings to the divine, followed by the bodily movements which are supported by the musical interpretations and the costumes to be worn. The important aspect of Bhava and Rasa which is the emotion and the aesthetics is the major focus in this work. The kind of music and lyrics that needs to be used appropriately is also mentioned. This work not just discusses from the artist's point of view for the presentation but also talks about the prerequisites to be a spectator which is an important aspect for the success of the presentation. This harmonious combination of all the essential components is the comprehensive framework of Natyaveda. The divine impact of understanding this sastra is also mentioned in the concluding verse of Natya Shastra which says “He who hears the reading of this shastra which is auspicious and comes from the mouth of brahman will be free from sins and one who puts it in to practise will attain the blessed goal which, Masters of Vedic knowledge and performers of Yagna attain”.

 

With the passage of time though the classical art forms developed into separate entities which are the minor forms of drama, the source of reference for all these entities is Nataysastra, even today. Few Sanskrit theatre presentations even now are the true representation of this Shastra. It is important to remember that Natya is a reflection of society and that is the reason it is necessary for an artist to study the human habits and nature around him. Hence, the world we live in becomes an authoritative source of knowledge as Bharata himself says. Having known the world, the background of Shastra and Sampradaya becomes important in presenting the classical art forms which otherwise loses its essence. 

#Submitted article to Indian News, Auckland, New Zealand

Survival of Oral Traditions in Modern times

 

Indian culture is a repository of innumerable oral traditions, which has its roots in folklore and family traditions. This rich cultural heritage has been an integral part in all the education and spiritual processes of our country. Art forms, which are an important source of entertainment, communicate with the world with the art of storytelling. The Guru Shishya Parampara focused on transferring the knowledge via oral tradition, which transmitted the history, techniques, literature and all the basic aspects regarding the art forms with or without the support of the writing system. This system not only helped the students to imbibe knowledge but also strengthened the ability and the capacity of the human brain and body in a sublime way.

Indian heritage has continued the practice of ancient tradition to recite the Vedas and Puranas. In earlier days, epics were often recited to seek divine blessings, at religious festivities and also when one faced the critical situations of life. This oral rendition not only strengthened the tradition but also gave rise to storytelling which slowly became the means of verbal documentation of the culture and heritage. Gradually the tradition branched out into literary, pictorial and performing traditions in which the art of communication existed in different ways. It is this oral tradition along with the literary, pictorial and performing tradition, which has shaped the cultural settings that resulted in the exchange and interaction of the relationship that has stood strong as a means of documentation. With this strong base, performing tradition has evolved into multiple forms.

Oral tradition in performing arts has a close link with the Guru Shishya Parampara, the strong lineage of knowledge flowing from generation to generation. The Guru who is the ocean of knowledge transfers the art form to Shishya creating a Parampara. The traditional format illustrates how the Shishya acquires the knowledge by being at the abode of the Guru. 

The strategy adopted in performing art is the elaboration and embellishment of the Shastras and the Puranas, which gets reshaped and refined during every performance from time to time. However, the core content is learnt by heart and transferred as it is to the next generations. It is the individual perspectives and the interpretations of the Guru based on their practical and theoretical knowledge, which differs from each individual which is visible in their chorographical works. As their understanding and learning flows down to their students, it gives rise to lineages. Thus, the Guru Shishya Parampara plays an important role in the performing arts to take forward the respective Bani (Style).

With the advent and advancement of technology the learning through oral tradition is slowly declining due to multiple factors which curtails the capacity of the human brain to absorb, reminisce and reproduce structures of great intricacy and end up being dependent on technology. This calls for an immediate action to reinforce the techniques of oral tradition in order to not just challenge and strengthen the human brain but also to have the flow of memorized knowledge on the tip of the tongue. 

It can be said that both the Guru and Shishya followed the Gurukul system or in some cases spent a lot of time together to enrich the treasure house of knowledge where the journey demanded more focus, dedication, determination and patience from the students. Also, the lack of technological intervention created more space for creativity and to absorb the content. In the current trend of young Gurus who have enormous exposure and accessibility to technology, are they able to strike a balance amidst these pressures and yet continue to pass on the tradition to the future generation?  

#submitted article to Indian News, Auckland, New Zealand

Kalasamvada with V. R Chandrashekhar by Rashmi Thaper

Love has no boundaries. While our dearest Vid V.R Chandrashekar, a renowned Mrudangist fondly known as VRC is no longer with us, yet his spirits are always around us. He was a known face for the combination of jovial & serious expressions. An artist who treated everyone equally is rare to find. Personally, my classical dance journey began by dancing to his rhythm and today as I write about him I am reminiscing the memories which is making me misty-eyed. Though I regret for not putting up his thoughts little earlier yet we want his artistic views to reach the entire art fraternity.

1.      Can you please elaborate on the initial training of yours?

I was studying in 5^th standard, probably 11 years old where I began my first training under Guru A.Rajachar. I completed my junior level training under his guidance. However I had to discontinue due to financial problems in my family. Later, after nearly 2 years I was fortunate to meet Guru R.A Rajgopalan of Iyyengar College of Music and continued my senior level training under him.

During 1979 “Gaana Kala Bhushana Vidwan Guru T.A.S Mani” had started Talavadya classes. My guru made me to join Mani sir classes. From then onwards I haven’t looked back and I am still learning him. Even now first thing I do on Vijayadashami is that I go to my gurus home and show him all the compositions I have made.

2.      You are one of the sought after Mrudangist player in the art field. Does the art in you trace back to your family?

Well, I am lucky to have been born to an artistic family. My Father is a harmonium player and my mother used to play violin. My brother is also a vocalist and my elder sister is a Veena player. Though we come from music background yet there was no stage to showcase all of their talents. However I can say that art ran in my genes. My grandson is also getting trained in vocal and my family kids (Akhil, Architha) are also getting trained in art field.

3.      How were your initiated to perform in music & dance kutcheri.?

I was always encouraged to be an accompanist after a certain age until my guru felt I am ready for it. I began with small concerts like temple programs and so on. It’s only after 17 years of my practice I was called for an International performance. Though I was initially nervous about it yet my guru pushed me and during 1980-83 I toured London, Scotland & Switzerland. I had enormous learnings being a troupe member of  Vid Rajakumar Bharathi, Sri Yesudaas, Bombay sisters, Sri Vidhyabhushan, Sri Rajkumar Bharathi, Ramamani, Sri Maharajpuram Ramachandran and many other senior music artists.

However my guru did not allow me to be an accompanist for dance unless I did my B High grade in Dooradarshan. I was told to do multiple music concerts only after which he would tell me when I am supposed to play for dance. Though many opportunities came in, I trusted and believed my guru and waited for him to give me the green signal.

4.      So, I am sure you have got the green signal. When were you allowed to work as an accompanist for dance performances?

It’s only after thoroughly playing for 15 years solely for music concerts I started attempting for classical dance. After I got married I started working at Triveni Academy at Chennai as a junior mridangam teacher. But unfortunately due to additional responsibility and insecurities wrt job I came back to Banglore. One day my guru called me home. I remember I drove my cycle to his place. He made me sit and told “We are going to America for a year project.  You don’t have time to think. I will get you coffee now, decide it by then”. I was perplexed, I did not know what to do. My guru got me coffee and I just looked at his face. Smilingly he said “Start packing your bags”. This was the day that cannot be forgotten.

Though it was my first attempt to play for classical dance yet, I managed to clear my interview with Guru Viji Prakash. We signed the contract of 8000Rs per month for a year. This period was the most challenging time frame of my career. The sessions used to happen for 15-18 hours per day and first 3 months I struggled a lot to understand the techniques of classical dance. This struggle actually helped me and as days passed by I became more comfortable playing for classical dance.

 I came back after a year and worked with Guru Radha Sridhar alone for 2 years. After this I was been invited by multiple dancers and then worldwide. I am happy that I was fortunate to meet senior gurus like Smt Meena Jayadev, Smt Rangashree, Smt Viji Prakash, Sri Shankar Kandaswamy, Smt Padmini Ravi, Smt Padmini Ramachandran, Sri Kiran Subrahmanyam, Smt Pratibha Prahlad, Smt Padmaja Suresh, Vid Bhanumathi, Vid Narmada, Mavin Khoo, Vid Meena Jayadev, Smt Viji Prakash, Maithili, Dr. Shridhar and many more with whom I have worked with. I specially want to mention that I have worked with all most all the gurus at Bangalore and with my fellow accompanist who are also my dear friends. It’s only because of all of them I was able to learn and grow in the art field.

5.      VRC Academy is the noted organization promoting the arts. What motivated you to start the training Centre & VRC Festival?

My journey as a teacher began with Naada Surabhi Cultural Association during 1982-83. Later as I moved to different location I was unable to commute which gave rise to VRC academy in the year 2005, where we started with Mridangam classes only. Later in the year 2012 we started classical dance and music classes.

I strongly felt that it’s only the art that has made me famous & now it is the time for me to give back to art. I understand how dancers struggle for performances due to multiple factors. Today my home is running and if I and my family are able to eat food, it’s only because of dance, so I wanted to do something to promote dance. I decided to invite dancers and also ensured I paid them (8k for dancers and 12k for festivals) too & that is how VRC festival began.

6.      Since you are extensively engaged with classical dancers, would you like to share any glitches or any scope of improvement for the artist’s community?

Classical dance is a multidimensional field. It is not just enough if you are good at dancing only. As a dancer they should be aware of music, sahitya, literature and rhythms. Many a times we see mrudangists only prepares all the tala from head to toe for the dancers. As a mrudangist one would definitely not mind doing it but my point is “ when will you learn?”. We should encourage youngsters to try and make mistake. We are always there to correct them. But dancers should themselves push to learn the rhythm. With this intention I even started Tala classes at various venues where I was teaching from basic and gave them multiple assignments. I was happy to see the proud faces of the students as and when I applauded their work.

My kind request to everyone is to give utmost importance to rhythms.

7.      Is there something you want to say?

In this technological era I am little disappointed at the way the youngsters are progressing. At VRC academy I do talk to students on regular basis irrespective of music or dance background and I tell them about the great mythology and literature we possess. The idea is that not many are aware about our vast culture and I want the upcoming generation to be conscious and proud of our culture. I will be happy if everyone can propagate this in their dance & music schools.

Another message to all the youngsters is -  “Your guru is your god”.  Every Vijayadashmi I request you to meet your guru and give the tambula and take their blessings. I will do it till my last breath and I want all of you to do it. This is the only blessings that will protect you forever.

Vid. VRC was a great person of Art and Heart, who believed in Simple living and high thinking. He has composed a great number of marvelous and joyful jathis, intellectual and intricate rhythm patterns to many music and dance programs. His contribution to the art field is immense. The artistic career and cultured life style of Vid. VRC is truly inspirational for many generations to come.

                                                                                                                             

Sat-Gati by Punyah Dance Company

 Sat- Gati - the Sacred Path

25^th Oct 2017

Sat-Gati by Punyah Dance Company was a splendidly blissful production combined with intrinsic movements, expressive abhinaya, soulful music & effective lighting.

The show opened up with Kalasha Pooja, by worshipping the creation and the universe from which one is emerged. The invocatory rendition by Vid Mahesh Swamy created a powerful divine ambience. Bowing to none other than the Vignaharta Ganesh, team began their performance for the famous “Pranavakaram Sidhivinayaka” kriti. This piece certainly gave a great start followed by a solo performance by the choreographer himself, Parshwanath Upadhye. The famed Ardhanareeshwara shloka of Sri Adi Shankara, “Champeya gowrardha sareerakayai”, representing the synthesis of masculine and feminine energies. This was well depicted with different attributes of Shiva Shakti with the perfect combination of majestic and graceful strikes.

The remarkable piece was “Devi Kali”, the destroyer of evil forces. Though she is associated with violence, yet she is a strong mother figure. This embodiment of Shakti, the fiercely energy, the fearful fighting figure with the necklace of heads, lolling tongue was brilliantly executed by the feminine energy of Punyah Dance Company. This vibrant energy thus calmed with the beautiful sequence of Ahalya moksha by Sri Rama.  The cry of Ahalya “Ninhe Nambidenayya Rama” touched the audience with not just the dance depiction but the true call by the vocalist himself created a perfect devotion. Following it was the “Gopa Gopi”, representing the playful pranks of Krishna & Gopi was joyful to watch. Krishna turned the whole community totally insane, in fact very blissfully insane that they were all mad about him. This piece gave an unexpected layer of surprise to see dancer Adhitya P V who is one of the poised dancer (by nature as well) to have exhibited this role (aesthetics of Krishna Shringara) brilliantly and none apart from him would have been able to do justice to this role. Each of the beautiful gopikas turned out all the more beautiful with their intense love towards Krishna.

The fitting finale well executed by the team was the Thillana which was indeed a grand finale. The perfect combination of dancers dancing to the syllables of the Nattuvanar Vid Karthik Datar was treat to watch. The vocal rendition by Vid Rohit Bhat & Vid Abhishek NA was an asset. Vid Harsha Samaga on Mridnagam, Nattuvangam & Khanjeera by Karthik datar, Vid Mahesh Swamy on flute, Sitar by vid Suma Rani added color to the presentation. The entire technical team well complemented the success of the production.

The vision and the choreography is best seen when it is executed well. The success rate of an art form increases apparently when it is able to move the non-dancing audience .Being within the brackets of the classical art and yet, successfully creating Rasa in the rasika (both dancers & non dancers) is truly the mark of excellence & experience. In the due course of Sat-Gati there was a divine connection that was established which made everyone experience this divine bliss, thus travelling the sacred path. The artist Shruti Gopal, Sneha Devanand, Matangi Prasan, Preethi Bharadwaj, Adithya P V & Parshwanth Upadhye are the well-known dancing troupes of the Bangalore city. The team is a perfect combination of pure dance, grace, beauty, emotions. Every gesture portrayed was perfectly timed and legible. This team who treats dance as divinity may grow higher and higher in their future endeavors.

As the team says, Sat-Gati is the path for one’s own spiritual evolution and our sacred art form can make any place as sacred as temple.

                                                                                                                                           

                                                                                                                                                      ~ Rashmi Thaper