New directions

Ranvir Shah

Come December and it is showtime again. Over the years the December season has become the ground for showing new and experimental work. Since the past year, however, we have seen an increasing number of dancers/choreographers doing variations on several themes. It is only the beginning. A beginning in which we, as audience, critic and performer, must rejoice, for it promises a trajectory that is exciting and far reaching, reaffirming our roots.

New directions in dance could be credited to the early choreographic works of Mrinalini Sarabhai, who, in the first flushes of post-Independence euphoria, created socially relevant compositions taking her inspiration from diverse themes as droughts, dowry and bride burning and ecological issues. 'Darpana' her school continues her traditions of new work with daughter Mallika having found her place in the sun as dancer - theatre activist doing socially empowering pieces like "Sita's daughters" and 'V'.

In the world of Kathak, Odissi and Kuchipudi dancers over a period have gone through their paces interacting with foreign artists, jugalbandhis across different forms, playing with the avant garde and flirting with change. This practice continues in the present generation and it is a veritable buffet from which one has to choose.

Chandralekha, stands quite clearly at the turning point in the new direction that dance has taken. Having established her grammar from the rich vocabulary of Bharatanatyam, she has annually come up with intellectually and visually stimulating productions that throw narrative to the winds. In her clear love for abstraction, she has found themes and issues that span the divide of the traditional and the modern. She reigns supreme on the scene today, but that brings us to the question of - What after Chandralekha?

There is a time when an artiste and his/her work represent a turn in direction, a statement of fact and being-by their very presence and work; that is overpoweringly true and all encompassing. Without sounding sycophantic one can see in Chandralekha's work the stature of a Tagore, a Rukmini Devi and a Balasaraswati, all of whom, reigned in their time and place in history.

Yet they had no one to carry on. No favourite students, no handpicked shishyas, all that remains is a diluted continuation of the styles - Rabindra Sangeet, the Kalakshetra style and of Bala, the last of the links with the cult of the devadasis little or nothing. Thus it becomes important for audiences to encourage, nurture and push young talent forward to take on new challenges in territories unexplored.

Yes, there are a few Chandralekha clones, like there are clones of many in all walks of life from business to art. It is a sort of left handed compliment, but when artistes like her have set the standard of excellence, it is difficult for the audience to see things which are then - below par.

Avinash Pasricha

Who then decides what is good, bad and below par? All art if it is strong, honest, integral and committed will eventually last out. Even if the audience is small, the appreciation will come as of a small and rare vintage. To promote and promulgate new directions what we need is an openness. An openness from the viewers point. This is difficult having been weaned on the classical in all our arts from music to the visual arts and on to the performing arts. Yet this is clearly the responsibility of the audience if it expects in due course (and due course is debatable, five years to twenty-five or more?!) to see that new directions are validated in terms of aesthetic and intellect.

Assimilation is the ground for many artistes in the process of change, growth and discovery. As in the case of Matisse and Picasso being inspired by African art, there are several examples over history where assimilation allows for new directions. This is true in food, language, costume, art and architecture. In fact assimilation and appropriation (to a certain degree) of cultures and religions are what make us global citizens.

Appropriation at many levels is also questioned in new directions. Here one must allow it for it brings forth a new fecundity. The interaction and co-mingling of forms has produced quite often fascinating new work and silhouettes of body language. Very often, it has not and we have had pure kitsch. So where lies the answer?

History has taught us that assimilation in a sensitive and creative manner can be meaningful and satisfying. True globalisation will allow for much more of it.

As an audience, we have to be patient as the serious ones stay on and produce new and stronger work. It is this period of flux that needs to be dealt with velvet gloves. The harsh put down of a critic, the non-attendance at a newly put together happening, the sabotage by the conservatives can deaden the dreams of anyone who wants to try something new.

There is a growing voice of dissent in the form of some scholars, who believe that there is no need for a new direction. The dance forms are valid unto themselves, they are fully formed and have many years before they need to change. This may be true partially, but in the given situation of a global village it is important to be able to reach out and interact effectively and yet know your roots.

New directions in dance are to be watched closely and with an openness, critiqued sensitively, dialogued with increasingly to produce a generation which in the new millennium can chart new challenges. It is for that future that we must be patient and nurture the present.

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