JEWELS IN THE CROWN

(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.

Madhavi Ramkumar