Theory ?!

How many of us have given importance to the theory part of this practically used skill? In fact hardly any of us.

and how important can this be?

Not very for a performer. But for a teacher and a performer it stands as an asset. Knowledgeable about the theory of dance leads you to impress people around you about dance, as an art. To draw laymen towards this so-called 'forbidden' art form.

The Natya Sastra - the bible for dance-  describes saying, "dance only for those who appreciate and understand dance language, don't try to educate laymen into this." 

What a statement in the very book dancers worship, I first thought. But later realized the significance of it. People who are not yet ready for this kind of art can never be easily tempted into enjoying a program. they find no pleasure in this. I don't understand then how can they enjoy a 3 hour movie which has the same story line, similar lyrics, similar action as a dance! It wonders me!

Natya sastra has 6000 sutras in 36 chapters covering  explanations about dance and drama. This is book was coded by Bharata Muni, in 200 B.C. This book explains about dance and drama and of course there are several others from which dance was re-created. Why I call it as re-created is because dancing was a lot different from what it was before this theory was given its due significance.

After interpreting the verses in these books, many eminent reformers beautified the dance form.

I would like to write a lot about Natya Satra but I will save it for forthcoming posts. As you would have noticed, the book has been written during 200 BC, and now we are at 2012, should anybody doubt if the book could be outdated?! I wouldn't deny any person posing this question. What was written then has now become a common-sense, has become just another part of dance now.

People have diligently followed the rules and regulations/ descriptions written in the book for centuries that today it is not a new information. Considering this, probably we should adopt Natya Sastra into the book for current century.  

Coming to the practical side of this, now-a-days it has become a fashion to bring from the past and dance is no exception. Dancers and choreographers are composing something that could have been done in the past with reference to NS. A drama on a chatusra stage with only Bharati as its vritti has become a fashion. A dance ballet with the usage of all four vrittis, choosing any of the dasaroopaka, usage of old instruments has now become the trend.
With no exception, dance has also undergone mighty change over the period and yes it is natural but to adopt. The wonderful part about Indian Classical dancing is, it still holds tight to its root while the branches are spreading like a giant in different directions in various ways.  

Here I am posting a link below of Rama Vaidyanathan's tri-kaala jathi of Varnam, swami naan undhan adimei. I would like you to notice a couple of things here :

1. The structure of the Jathi, simple and a long one.

2. The steps - modern yet traditional.

3. compare it to her performance today - a sea of change in sollu kattu, dancing, adavus!

http://www.youtube.com/watch?v=8Fv5JEpExOw&feature=related 

Krishna - The Divine

Krishna - The Divine, an excellent dance ballet by Sheejith Nambiar and Parvathy Menon.
Old theme, old stories put together with new movements and ideas.


Performed last month at Narada Gana Sabha.


The dance Drama started with the depiction of krishna's favourite - Yamuna ' nadhi ' . It was an impeccable nritta portion and this was followed by a song 'nanda lala' where the birth of krishna.
The town then celebrates the birth of  ' Janardhana' - boys pick up their drums and start their grand celebration when the audience were left spell- bound by the scintillating performance of the like of Pung Cholam by the 4 boys. out of them, 2 were kalakshetra products and 3rd, a disciple of the Gurus and 4th - Sheejith himself.
I have attached a link below of this. http://www.youtube.com/watch?v=NaviqxvE8sE&feature=fvst  ( this is at Nishagandhi festival, kerala) 


After this, we could here the favourite Yaman Kalyani - Krishna nee begana Baro, where Krishna gives his grand entry. Though the entry of the main character was done in an old fashioned way, more like the pravesha daru of yakshagana, it still gave a good effect.
Here Little krishna, though enacted by Sheejith Nambiar himself was convincing enough to be a little one! :)
The Gopikas, usual complaints of steeling butter were well depicted. Although when Krishna started playing the flute, one could hear the mridangam, vocal and nattuvangam, this could have been restrained to only flute, which could have sounded alluring.
in the charanam ' Jagadho dharana...' the scene where krishna shows the entire universe to His mom was effectively portrayed, a few distractions by the others dancers on the stage could have been avoided!
Valachi Ragam began the scene II, here the usage of many karanas for deer and peacock movements were excellent.
for the song 'Gaana Mazhai' in behag, the dancers had enacted extempore on the stage portraying the given character, which was absolutely stunning to watch given the odds of a group dance! it was a fantastic job.
The favourite Dance depiction of krishna was shown in the next scene with Purvi Kalyani ragam, a well selected ragam - 'Tasmeen kale' - the song with good lyrics for 'Kalinga Narthanam'. 3 snakes and the snake like movements were well choreographed , krishna's striking steps on the head of the snake was very good, though one could a lot of repeatition in krishna's steps. A special mention has to be made here, in the last posture, One of the best mishap management on the stage. though the boy carrying Krishna slipped, though Krishna's one leg fell on the floor, the posture was so perfect, it was marvellous, probably better than the original one!
The other miracle that krishna performed was lifting of the  Govardhan. This scene carried a palpable sense of devotion.
A jathi here with words 'Uddhaara Govardhana' was well composed. Govardhan Giridhara, a popular song, was then danced by all. the end of this scene was natural. I liked the way, a bhaktha sits devotionally on the stage when everybody leaves the stage along with krishna, suddenly realising this, krishna turns back , everybody turn back, krishna makes a run to this bhaktha, hugs and takes him along too.
Oh, yes, the Gopikas are here, 'Chaliye Kunjanamo' - an awesome song, beautifully choreographed by the Dancing Couple and well portrayed. this scene ended on the boat with all the gopikas on river yamuna. And yes, how can one miss 'Raas' when talking about vrindavan, neither did Nambiar and menon forget this. A powerful raas piece was inserted here and relaxed the audience with the song 'Gopi gopala bal'. 
The ever depressing situtation, krishna leaves Vrindavan and the depression could have been more effective! 
Scene 6- entering Dwaraka, people of Dwaraka sing in praise of Sri Krishna with 'Swagatham Krishna'. 
towards the end, the ballet started dragging, it was time to end but it dint! various songs like, Bhaktha hridya mandara, nanda nanda ( a bhajan type), dasavatharam ( an unnecessary insertion), bhagavad gita (yada yada hi dharmasya), shanthakaram, vishva roopa dharshanam... there was everything. The bhajan type of dancing was excellent and the vishvaroopa dharshnam would have been more effective with use of better back lighting! All in all, it was admirably composed ballet, just like Divine Shri Krishna. 

Back...

Occurs once in four years, This day, lucky to return to the Vibrations of the Gunguroo today!

I actually almost forgot the ID of this blog. !!!

after the long break, I was fortunate enough to perform at few places. With the gaps that i have taken, i was afraid if i would dance well... not bad at all but never as satisfying as it should be. 

It was my priviledge to attend a few shows and attend a dance camp.

i had not been to several programs like i used to, but i found time to go for a few and have enjoyed completely. 

yea, the camp, a wonderful one at Thennagur, one of the best camps for any dancer. Conducted by Narada Gana Sabha at Thennagur. they call the best musician, poet, literary person and dancer to feed us all with sumptuous knowledge on dance and its allied arts. This year, like last year, it was pouring rain of 'gyan', luckily i had taken a recorder this year so i can recall the classes now, lest i would have missed half of the stuff if i was taking notes. They are too fast and vast in their knowledge that your writing speed would defeat you. 

Now i am sitting at Mumbai, trying to attend some classes and conduct workshops here. I Hope things will turn out fine.