(post by Madhavi Ramkumar)
A recent newspaper report quoted a noted artiste as having
observed that a certain dance form is the crown jewel among the classical
dances of India.
While pride in one’s chosen field is imperative, appreciation and enjoyment of
other genres is equally desirable. Each Indian classical art is in fact a jewel
in the crown, invested with wonderful attributes, unique codes of aesthetics,
technicalities that lend it distinct identities, and flavours derived from the
area of origin and history of development. That all this somehow manages to
retain a common thread of ‘Indianness’ makes the whole panorama of Indian art
more breathtaking and enchanting.
Every experience of a classical dance or music form is
refreshing and attractive in its own way. The exuberant pace of Kuchipudi, the
lyrical grace of Manipuri, the linear perfection of Bharathanatyam, the sublime
intensity of Kathakali, the sensuous refinement of Odissi, the languorous
elegance of Mohiniattam and the rhythmic exactitude of Kathak, are but a few
instances. Hitherto lesser known genres are now being discovered and
rejuvenated in various parts of the country. The rich full throated
articulation of Hindustani music and the gamaka oriented abundance of Carnatic
music may be the first attributes that strike the lay listener. Beneath the
surface of all these lie millennia of evolution, deep and intense cultural
connotations, and scholarly and intellectual engagement with the entire ethos
of the region and of the country as a whole. Language, literature, sculpture
and other creative pursuits have contributed in no small measure to each, and
to dismiss one or the other as inferior, shallow or bizarre would be a great
injustice. And just as every art is alluring in its own way, so is every
language, each with its particular cadence, lilt and inflection.
Unfortunately, a degree of prejudice, based on ignorance and
lack of exposure, seems to be prevalent in the art world. While crowds throng
the venue for a particular dance style and artiste, even serious artistes and
aficionados avoid certain others like the plague. Inheritors of one musical bani
have been known to refuse to acknowledge other styles or to listen to anyone other
than their master. The unfamiliarity of some well established performers with
the basic tenets and terms of other styles is at times appalling. While it may
be impossible to master all the extant forms, a wider perspective will enhance
one’s own artistic experience, sharpen one’s artistic abilities and enrich
one’s knowledge and understanding.
A pan Indian approach at an appropriate stage in the
teaching of the classical arts, thereby inculcating a catholicity of outlook
and positive attitudes in young aspirants, would be welcome. Students of one
discipline could be familiarized with the rudiments of others so that they
develop appreciation and esteem for those, enabling serious students to adapt,
within the parameters of their own idiom, ideas, expressions and
interpretations and aspects of presentation. Lecture demonstrations by
practitioners and connoisseurs may be included as part of the curriculum, and
elucidation of points of similarity and divergence would no doubt lead to a
healthy regard for different nuances and systems of aesthetics.
With the abundance of communicative tools available today
access to material and information is greater than ever before, as are opportunities
for improvement of skills and knowledge. Each of our classical art forms
deserves to be seen, heard and enjoyed, and established artistes, teachers and
connoisseurs have a leading role to play in their propagation among the younger
generation, exposing them to the multi splendoured heritage of our nation.
