Reinventing classical forms

Recently at the launch of a book on Jainism, Geeta Chandran created a “new performance” — a dance essay highlighting aspects of the Jain way of life. “Jainism is often seen as a dry and nee-rasa (sans emotions) faith because it concentrates on simple living without any pomp and show. Based on the book, I highlighted different aspects of how there is colour in even the Jain way of life,” says Chandran.

As a polymath artiste celebrated not only for her deep and composite understanding of Bharatanatyam, but also for being proficient in Carnatic music, Chandran believes dancers need to keep questioning their art and continue experimenting.

Ahead of the annually observed International Dance Day, also known as World Dance Day on April 29 which aims to increase awareness of the importance of dance, celebrated artistes tell Metrolife why is it important to keep reinventing and experimenting in classical dance forms which are mostly based on stories and incidents from Indian epics.

Mohiniattam performer Smitha Rajan believes since the audience today has a limited attention span, there is a need to keep the performances short and crisp. “Twenty to 30 years back, a typical classical dance performance used to go on for more than two hours as these were the main entertaining media. But today with the fast-paced lifestyle, a typical rasika (aesthete of Hindustani classical music and dance) is one who needs to be entertained with short performances,” she says.

She mentions that while some dancers in her field experiment with Aharya which uses elaborate make-up, accessories and sets to express the performer’s expressions and mood, she prefers going by the rule book.

“I am a performer who still believes in our classical tradition and completeness of our art forms. Each time I take up a stage, I format those performances understanding the distinctive needs of the audience. I choose stories and incidents from our epics, history and contemporary themes and organise my presentations adhering to the classical values and rules,” points out Rajan, who hails from Kochi and is currently based out of Saint Louis, USA.

According to Chandran, there are two ways to engage with classical dance, and she loves doing both equally.

“Some stay purely within the tradition and dig deeper into it finding new gems and moments that create magic. Yet others expand the very nature of the dance form and create new syntax for dance,” says Chandran, who is the founder-president of Natya Vriksha Dance company which is set to perform on April 30 and May 1 at India International Centre in the city. 

However, for dances like Assam’s Sattriya which has recently come out of the religio-social organisation of the Sattras and is now also presented outside the state, the challenge is to cater to a “changing audience with a world sensibility” in comparison to the other seven classical dance forms. “I have done both solo and group choreographies outside the traditional musical compositions by performing to Hindi poetry and bhajans which is completely new for the style,” Prateesha Suresh tells Metrolife.

Adding, she says tradition and art had to find a common ground and that is when she decided to incorporate hand gestures, not much practised by Sattras, and wear skirt-costumes originally used only by male artistes.

“I incorporated the usage of hand gestures along with the traditional hand gestures to enrich the ‘abhinaya’. I have also taken the ‘dhoti-costume’ as a female dancer which has helped me to do justice to the movements. These steps were necessary and of utmost importance for me as a performer to keep a tradition alive while adding to it,” says Suresh, who started performing 25 years ago.