An online baithak was organised by the SPICMACAY EU chapter with a presentation by Samyukta Chillara, in which members and volunteers from across Europe participated. The baithak started with Samyukta introducing herself and encouraging participants to share their first-hand impressions of the topic, specially inviting non-dancers to share their knowledge about the dance world.
The first questions from the participants were: “What does marga mean?” and “What does desi mean? Is it something different from the stereotypical meaning of desi as domestic?”. Another question was: “Does the Natyashastra refer to classical forms other than dance?”
Samyukta introduced herself as having practiced Bharatanatyam for twenty years, being under the tutelage of leading Bharatanatyam gurus in India. She is trained in the Tanjavur style of Bharatanatyam. She went on to answer the questions by saying that in India, we have various classical dance forms often having some common points. These similarities come directly from principles given in the Natyashashtra. An important landmark in the history and evolution of Indian classical dance forms was when karanas were introduced. The exact point when karanas were first introduced in Bharatanatyam is not widely agreed upon. But when the evolving classical form that we see today integrated with the karanas, it became Bharatanritya. In such classical dance forms, baani is like school or gharana (as referred in North India) for dance forms. The main difference between different baanis is aesthetic while keeping the main principles of dance common in all baanis of a particular dance form.
KARANAS AS A WINDOW TO IMPROVISATIONS
Samyukta shared a video “Karanas by Vithya Arasu” on a contemporary music “Lasya” by Anoushka Shanker”. In this video, multiple dance forms including Bharatanatyam, Odissi, Mayurbhanj Chau, Kandyan and Vilasini Lasya were presented in a single composition. After the video, the discussion was opened for comments regarding how participants interpreted the composition. One of them suggested that the Odissi dance was more fluid while the others were straighter. Samyukta explained that, when you see multiple names in the subtitles, you can spot the differences very easily. First of all, all of them are very different dance firms. She said that the dancer in the video Vithya Arasu knows multiple dance forms, but while presenting a particular dance form, she maintains the integrity of the dance form. Putting them together such as in this composition is a difficult task. It could be done in this particular song by Anoushka Shanker because it is a single song with differences between rhythm and raga, which allows combining multiple dance forms.
One of the participants said that the dance composition seemed like a ragamalika in music, and it was noteworthy to see how different forms were presented as one in the video. Another participant pointed out that though the different dance forms were quite visible, it was interesting how the transitions between them were made and asked how such transitions are allowed as per the Natyashashtra.
Samyukta drew attention to two important aspects to note. First, about the differences between the dance forms and the transitions between them. This is explained by the karanas. The improvisations are made by the karanas and the original movements are from natyasashtra. Charani added that, in the first half of the dance forms (namely Odissi, Bharatnatyam), the poses were distinct while in the second (namely Mayurbhanj Chau, Kandyan and Vilasini Lasya) the forms were a mixture of postures. They were similar to the postures of dancing in temples. Vaishnavi added that, as students of classical dance forms, generally we are taught strict movement based rules like not to let our arms loose and not bend waist or shoulders over a particular limit, however, in the video, the first one (Odissi) was more fluid here.
To these wide range of comments, Samyukta said that in such karanas and combinations, dancers try to follow the original rules, and decide how improvisations are made. Many parameters are taken into consideration like what people kind of aesthetics enjoy at this point of time . all these shape how the details change over time in dance. Ananya, one of the participants noted that, the first half of the dances had more connection between hand and eye movement.
Another participant asked if there were specification of postures and movements in the Natyshashtra about the stage being outdoor or indoor, given that in the video of Vithya Arasu, the performance was outdoor in front of a modest building and the dancer performed some movements around a tree. The participant inquired how dancers decide movement when it is indoor, with a typical stage having dark background and when it is outdoor. To this question, Samyukta explained in detail that most of time it depends on what the dancer wants to communicate, the indoor setting is a very different kind of experience for the audience than outdoors. When it is outdoor, there have to be many additional factors to be kept in mind such as it has to be a small intimate setting, where the body movements and facial expressions are visible with special consideration of the audio quality and the limitations of the audio system. She remarked that, in outdoor space, it is a bit challenging while factors such as light and sound are well controlled in indoor settings. She also added that fundamentally, classical dance forms of India were performed in temples and not in completely closed auditoriums like now.
During this discussion on outdoor and indoor setting, Bhavya reminisced that, once in Amsterdam, Rukmini Vijaya Kumar had some issues with lighting in the performances and as a mitigation measure, she structured her dance piece around lighting limitations on the go. So it is not only light or sound, but also sometimes, dancers might focus on other factors or devices such as the camera that shape the performance.
NATYASHASHTRA AND ITS PRACTICAL IMPLICATIONS ON CLASSICAL DANCE
Dr. Raghavendra Mishra, current faculty at National School of Drama, New Delhi who has an expertise on Natyashastra commented that in theory, Natyashastra is an encyclopaedia of all dance forms of India. He suggested that when dancers or organisers are presenting any dance forms, they should say its relation to natyashashtra and cite references from it.
To this, Samyukta added that many times, the original forms and rules of Natyashashtra are not followed strictly in dance performances, so while referring to such proposed citations, one should note the differences between original source and later improvisations. Dr. Raghavendra proposed that, in future performances globally, the history of art in Indian knowledge system and history of art in world should be shared in reference to dance performances. Organisers can distribute art based pamphlets and share the rich original heritage of India specially, the Indian encyclopaedia centric heritage. To elaborate on this theme of the Natyashashtra, Samyukta explained that, Natyashastra was authored by Bharatamuni almost 2000 years ago as per popular consensus of art historians. The original treatise was in Sanskrit. There have been multiple commentary treatises later by scholars like Acharya Abhinav Gupta and Dhanya Alok that shape the present body of theoretical work on this major body of knowledge of Indian classical performance arts. While major parts of the original text have been preserved and transmitted through oral traditions, the later commentaries are equally important in present time to help us understand the nuances of Indian classical dance forms. Samyukta added that, Natyashashtra is not a spiritual book. Though it has many philosophical content, it has many rules and specifications about theatre and dance. Natya mainly refers to theatre based performance arts of ancient India. The natyashashtra is a catalogue of forms and specifications of various kinds of Indian performance art forms majorly classified as the known 64 art forms. Shashtra refers to the principles. So at the core, Natyasashtra is “a book of principles of theatre”, born in Jambudweepa which refers to the ancient Indian geographical reference of India which covers most of South Asia today.
KARANAS LINKING POSES TO MOVEMENTS FROM TEMPLE SCULPTURES
The karanas refer to one of the chapters of natyashashtra. Samyukta added that, traditionally, it was accepted that the principles given in Natyashashtra was just poses, but Dr. Padma Subramanyan found in her research that, these were not just poses but frozen moments of elaborate movements. The challenge that was probably posed for ancient scholars was to describe those poses as karanas in text. For a long time, dance experts and scholars thought that they were just poses, but thanks to the work of Dr. Padma, now it is a proven fact that the karanas mentioned in the Natyashashtra were not static poses but dynamic movements. A certain pose that was mentioned as a shloka of a karana, was found to be a movement. This finding is also reinforced by the sculptural details of Hindu temples, where the dynamic movements of dance pieces are depicted as frozen poses. When you take a detailed look at the dancing sculptures in the temples of Brihadeshwara in Tanjavur, Tamil Nadu or those in the Padmanabhaswamy temple in Pambanan, Tamil Nadu as well as in some temples in Indonesia, the theory of Dr. Padma Subramanyan could be well understood. Dr. Padma took the content of these sculptural sources and reconstructed them in a single form. Samyukta added that, though in India, there are various classical dance forms, the root is the Natyashashtra, where every movement that is performed in the present classical forms, is described in some form of dance poses.
It could be noted that, different classical dance forms are specialised to present different poses of the body. When you see kathak, it is in a standing dance form and it is performed in the pose of the samashthana. Kathak has taken this particular thana and evolved its own style. Some stances from particular dance form are taken and create the connecting links, like the mandala stance. For example, the thana, like tribhangi in Odissi and Kuchipudi, were used for evolving from each other.
INTER REFERENCING WITHIN DIFFERENT CLASSICAL DANCE FORMS OF INDIA
The next part of the discussion followed with a live demo of two different dance movements by Samyukta, with a follow up question by Samyukta asking the participants, showing, which parts of the dance are easy and which parts seemed difficult. One of the participants said that the kathak movements are easier than the second bharatnatyam movements.
Samyukta explained that the first movement is one of the karanas and second movement is that of Bharatnatyam. In Bharatnatyam originally there were no hip movements. Over time, they have adopted some similar movements from other classical dance forms. While, it is normal to see many tribhangis in Odissi and not in other dance forms. Odissi contains, more tribhangis than other dance forms, but other dance forms also contain certain similar forms of tribhangis. Kuchipudi is one of the dance forms that relate most to Natyashashtra. These kinds of hip movements can also be sometimes seen in Western dance practices like Ballet and Jazz or in South East Asian traditional forms like, Balinese. Samyukta added that, in the earlier video, of Vithya Arasu, the various poses are generally referred to as charis in classical dance forms.
PARAMETERS FOR EVOLUTION OF CLASSICAL DANCE FORMS OF INDIA
In the different classical dance, various parts of the body are used in a certain movement. In Odissi, the body uses the curves while in Bharatnatyam, the body moves in strict geometrical forms. Because of the extensive use of curves in Odissi, say something for sure, about its direct evolution from Natyashashtra. Many integral forms of these classical dance forms, can be traced to Natyasahstra, but we are not sure which parts and in which ways. To the next question, on the evolution of the classical dance forms, one of the participants noted that sometimes, it is said that Odissi is the dance of the water, Bharatnatyam that of fire and Kathakali the dance of the earth. Samyukta explained that, the aesthetic of the land is very important to understand the evolution of the various classical dance forms. It could be said as a metaphor that Odissi reflects the fluidity of water, while Bharatnatyam represents the energy of the fire and Kathakali represents to balance of the earth due to the majority of the postures and movements which are inherited from local culture. The variant music style is also important to be noted that synchronise with the classical dance forms. It cannot be inferred whether the music influenced the dance or music evolved from dance, but there is a direct synchronicity in the evolution of music and dance together. For dance forms, materials available for dress and ornamentation also influenced the aesthetic of that land. It could also be noted that in different regions, body compositions and proportions were also different in distant past, and those could have also influenced the dance forms. Among the participants discussion, it was noted that there could be a possibility that languages also could have influenced the dance forms. One participant said that how Awadhi sounds in a particular way and that could give a particular formal makeup to the style kathak is performed.
Bhavya raised an important socio-cultural aspect of the historical times, when the temple dance forms were reserved for a specific sect of devdasis and how their social status could have influenced the evolution of classical dance forms. The fact that the earlier devdasi tradition later found place in the princely courts, especially the court of Mysore, could have suggested many aspects of the dance forms. Samyukta explained that this could be a contributing factor in a way that classical forms saw certain deletions of forms prevalent during the devdasi tradition that were harmful to the body.
The impact of contemporary culture and knowledge on evolution of classical dance forms is evident even in present times, when questions like what is good posture and what is not good, gets referenced from specialised scholars in other disciplines and their current research. To this intriguing part of the discussion, it was agreed that all these cross disciplinary and cross cultural knowledge also influenced the changes in classical dance forms of India, not limited to factors specific to geography, socio political environment, language or music. This has also been seen as opening up of new possibilities in dance styles, as there have been instances of revival of many dance practices that were prohibited before. Even in the case of the karanas, Samyukta added that it was taboo before.
THE “NATARAJA POSE” AS A DYNAMIC DANCE MOVEMENT
To elaborate on another interesting research finding by Dr. Padma Subramanyan, Samyukta said that Dr. Padma in her research found out that the popular Nataraja pose famous as an epitome of Indian classical dance sculpture, is basically a frozen moment of a longer karana. These poses which we often see in sculptures are like short photos of a longer dance movement. One of the challenging aspects of contemporary classical dance is to incorporate these new findings into the new forms of classical dance is very important to improvise contemporary dance forms. Samyukta added that all the 108 poses found in the Natyashastra have been revived by Dr. Padma Subramanyan as karanas. Speaking on the aspect of ancient knowledge of classical dance, influencing present classical dance performaces, Samyukta stressed upon her strong belief that as a dancer, it is not important for her to compromise her dance style of Bharatanatyam because now she knows something that predates Bharatanatyam, the knowledge that originates in the Natyashastra. For her, the coming to light and revival of ancient dance knowledge is of substantial importance which can make her performances and improvisations more richer, but not limiting.
The discussion then steered towards the central theme of the baithak, marga and desi. Samyukta explained that, marga refers to the root principles of a dance movement that have been reconstructed while desi is the regional evolution of these root principles. Since every dance forms have its own evolution as they evolved in different regions, those regional variants are called desi.
SOCIO-CULTURAL ASPECTS , DEVDASI TRADITIONS AND DANCE
Next, Varsha asked that, when the rules of bharatnatyam was set up, post devdasi tradition, were they referenced from the Natyashashtra or the temple sculptures? Samyukta answered that the devdasi tradition was abolished is a recent history if compare the long standing heritage of Indian classical dance forms. What was known as Sadir attam in the past, was performed by devdasis in Southern India particularly what is now present day Tamil Nadu. The kind of choreographies that have been taught in last hundred years in Bharatnatyam were not even present in the predecessor dance forms like Sadir attam.
Bhavya remarked that Mysore kings encouraged more improvisations in their court performances as devdasis were having greater status in the Mysore courts. To give a statistical reference of the number of karanas and poses, in the history of dance forms, Samyukta said that in Bharatnatyam, there are 180 karana movement now while in older choreographies their tentative numbers are not known. Around, four or five in the older dance forms are like movements but not karanas and around ten to fifteen were like poses, but not again, karanas.
When we talk about the origin of movements related to bending of body, movement of legs or hand gestures, little can be directly referenced from the Natyashashtra because of the fact that, the entire movement sequences are not really specified in this ancient text. Or, on the contrary, certain forms that ware preserved in small parts in classical dance styles of recent history, could be traced back to the original source, Natyashashtra.
After this, Bhavya asked a very practical question to Samyukta about which of the two, karanas, or geometric forms of Bharatnatyam, Samyukta prefers to practise. Samyukta replied that, both of these feel very different while performing. While karanas are relatively newer, they are more satisfying to her. While she finds karanas more enjoyable, she also likes some fast paced geometric movements of Bharatnatyam.
THEATRE , STORYTELLING AND INDIAN CLASSICAL DANCE
Samyukta also added her valuable knowledge on the topic of marga, desi and storytelling. Since, classical dance forms with their reference to the Natyashahstra speak majorly on the theatre aspect of performance arts; they have a major component that contributes to communicating a story. This aspect of storytelling is performed by the abhinaya component of Indian classical dance forms. The main differences in abhinaya are the angika abhinaya (corporal movement), vachika abhinaya (voice), aharya abhinaya (costume). Then there are the Navarasas abhinaya where there are subtle differences. There are another major classifications of abhinaya namely, Lokadharmi and natyadharmi abhinaya . For example, Kathak is a lokdharani (that is relatable to everyday life).
On a concluding note, Dristi said that, she never thought Indian classical dances can ever evolve or can change but she is glad now that she sees endless possibilities after the details Samyukta elucidated in her presentation .
CHANGE AND ADAPTATION AS A FUTURE MANTRA
To this, Samyukta remarked that, we should always change and adapt , it is always better, anything stagnant is not good for the long term, being open to change within a structure is very important. She emphasised on the fact that, to be able to stay within a structure is very important and then to transmit the valuable knowledge systems to the next generations.
Mangesh said that his guru once said that it is imperative to follow the root rules and grammar of classical forms but to always leave our own mark to the performances.
One the aspect of evolution of the rich cultural heritage of India, pertaining to dance, Samyukta cautioned never to say to initial students that as experts and teachers we are going to change the rules later. It is very important for beginners to first learn the rules and be within the rules and then being knowledgeable and skilled enough to tweak them within the followed structure.
The baithak concluded with a retrospective documentary on YouTube produced by Doordarshan titled “Bharatiya Natya Shashtra ep#3” which covered dance experts discussing on the temple dance sculptures of South India. The video resonated with one of the major topics of the baithak discussed, about the dynamic nature of temple dance sculptures. One of the scenes in the documentary involved some students asking the dance experts why one of the sculpture depicted four hands, to which the expert in the documentary replied that it was very beautiful by the Indian sculptors of yesteryears to replicate the dance movements in the form of sculptures. The way extended movements of classical dances were shown was by capturing the start and the end pose of the dance and representing in the form of sculptures. The baithak ended on a very satisfactory note and appreciation by most of the participants.
Dipon Bose
SPICMACAY volunteer
Politecnico di Milano, Italy
Leave a Reply
You must be logged in to post a comment.