How does jazz gel with martial arts, of all things? Chennaiites got a taste of this last week, courtesy martial arts specialist George Kurien and famous jazz musician Madhav Chari, who came together to present a curious duet ‘Trinethra’.

Lasting for about an hour, the duet featured Chari playing music from the blues, modern and traditional jazz, and gospel music on his piano, while Kurien carved out an artistic performance from martial arts movements. “It is certainly not part of the fusion genre, where you have an artist playing a piece on his instrument, and the other person redoing the same in his niche. It is more like a conversation between two dedicated practitioners who are into two different mediums of expression, who are talking to each other, rather than echoing what the other has spelled out. In ‘Trinethra’, we have presented our own, individual statements,” insists Kurien. While one can debate on the synchrony between the two, the quality of selection of the pieces and even the content of the presentation, it has to be admitted that the duet came as a refreshing new genre in this age when choreography seems to be swinging between vigorous titillating gyrations on the one hand or classical pieces which have gone staid.  

For some of the pieces, Kurien employed bamboo staffs and other weapons, but for the most part, it was his body which he used as a tool of expression. In fact, throughout the performance, Kurien tended to move gracefully and rather slowly, far removed from the normal conception of martial arts being all about power and speed. “There is a lot more to martial arts than raw power. There is deception, there is aim, there is fluidity of movement, there is shrewdness, which helps you assess the opponent’s strength and use it to your advantage; all of this can be equally critical, if not more,” he says. Well, he should know; after all, for over 20 years, Kurien has been journeying through a spectrum of martial arts genres, ranging from kung fu and silambam to Tai Chi and other far-east disciplines of martial arts. Kurien has also been endeavouring to promote self-defence techniques for women. As a martial artist, George Kurien's primary focus is Tai Chi; but he is also a holistic healer, meditation practitioner and teacher.

Even for the two of them, it was a revelation of sorts. While Chari has no background whatsoever in martial arts, Kurien is a stranger to Jazz. Says Chari, “With Trinethra, I am entering a new field of energy, exploring both my medium and the lineage of jazz”. Chari went through a range of tempos ranging from slow to fast, with Kurien showcasing movements from Tai Chi, Kalaripattu and Shiatsu. Born in Kolkata and based in Chennai now, Chari has extensively studied and performed jazz music in the US, and was a part of the New York jazz scene for many years.

He has interacted with musicians of the likes of Grammy-nominated Afro-Cuban percussionist Bobby Sanabria, Max Roach, Ed Thigpen, Lester Bowie, and five time Grammy nominated pianist Kenny Barron.

There is a definite script in the sense that the music pieces were pre-selected, but the stage saw a lot of improvisations. Improvisation, form and process are related to each other and deeply influence each other, the duo says. ‘Trinethra’ explored improvisation, form and process as they unfold through time and in space. The art of listening was another facet which came out from the performance though the music and the movements went together. “You have to listen to respond, even if it is your own unique reaction or statement”, Kurien says. He adds, there is another common thread that runs between music and martial arts.

“Rhythm and movement. They are fundamental to both martial arts and music”, he says. Both martial arts as well as jazz music emphasize on improvisation, spontaneous composition, and creation on the spur of the moment.
Incidentally, Kurien did just that when he presented his array of moves. For a musician, the ability to improvise prepares him during presentations; for martial artists, improvisation is a must in real life combat situations, where he needs to react appropriately to the situation, rather than going by textbook moves. Music and martial arts have gone together, back in history too, apparently. Some martial arts have come disguised as folk dances, like the slave dances of Brazil, Kurien points out.

So what about the third thrust of ‘Trinethra’, meaning the triple eye in Sanskrit? One deduces that it has to be the dramatic lighting the duo has gone in for, which enhanced the intensity and impact of the performance.
For those who could understand it, ‘Trinethra’ was envisaged to move through the mythology of Asia with a strong undercurrent of Indian mythology, even though it was incongruously set against jazz. For most of the others, it was at least an interesting encounter between melody and martial arts.