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Music & Dance
A democratic approach
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``Our job is to work the limbs and body into levels of excellence. Once a year however, it is good to fill the mind with some added information." — Leela Samson tells GOWRI RAMNARAYAN.
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Leela Samson... stress on intellectual debate.
THIS YEAR, the Natyakala Conference, Sri Krishna Gana Sabha, is convened by Leela Samson, the Delhi based performer and guru who was trained in Kalakshetra, Chennai.
Samson's group choreography has always been interesting. She has managed to introduce a democratic approach in a solipsistic world.
In this conference too, she has adopted a wide, inclusive focus to see the dance both in its environmental context and in its essence.
In this interview, she explains that the seven-day event, ``Context, Content and Core" will examine the social context in which the dance survives, other disciplines which nourish the art form, and the intangible core which is transferred to future generations. Excerpts:
What made you come up with such a holistic theme for the conference? Do you feel that dance is turning too inward and must be related to other spheres?
An artiste is not a scholar. The creative impulse draws one in the other direction almost. So the present trend, of mainly the dancer talking about the dance is, I think, detrimental. It is time to sit back and listen to other informed points of view. Considering the holistic nature of India's traditions, I felt that we could learn a lot from people in related fields whose own work has been both creative and scholarly. By doing so, maybe we can renew our understanding of our art form. The dancer in our times has spread herself too thin, having to be teacher/ dancer/ singer/ sound recordist/ lighting expert/ choreographer, etc. It is not necessary that she also take centrestage in scholarship.
What kind of inputs are you expecting from specialists in other fields like Dr Rajeev Bhargav who teaches political science, or writer C. S. Lakshmi?
I am banking on them to provide insights into our own art form that we never knew existed, through experiences and methodologies in their own fields of expertise. We have in a way, exhausted dance scholarship. Scholars are tired of repeating themselves. I admire the people I have invited, for what they have achieved in their own spheres. I expect that although they will throw up theories contrary to and maybe even unrelated to dance, we may learn a bit about what is happening in the world around us. I do think that the dancer is very insulated and that it is time perhaps for her/him to relate now to other forms, subjects and people.
You have included aesthetics in education. What does it mean for us in today's context? Does it exist at all in mainstream education in modern India?
Aesthetics in any pocket of life is wholly desirable! There are pockets of people in this country, who are trying desperately to give the child an education based on principles other than `winning the war.' Rishi Valley is one such school and since it leads to what a child needs - `an environment' in which to study, I hope that between Anandalakshmi and Radhika Herzberger we can focus on that special atmosphere that the guru-sishya parampara has, but which perhaps needs to be `consciously' refurbished.
What is the ideal environment in which to learn our arts? Not the physical environment alone, but the mental and emotional one. What do you think of seminars, conferences in general? Do they make an impact at all?
Actually, it is ironic that I am convening this conference. Personally, I have not had much faith in the outcome of seminars and have in fact, shied away from attending or speaking in them. Having said that, I think there is room for introspection and airing of `informed' opinion! The Natya Kala Conference is the only seminar on dance in Chennai during the crucial `season' and I think a valid one. Sri Krishna Gana Sabha is the only Sabha that has allowed for this in the area of dance specifically. In my humble opinion, institutions like Kalakshetra ought to have shown the way in hosting such an event.
The Natyakala conferences are poorly attended by dancers and dance students. Do you think anything can be done to draw them, as also other young people to the event?
I am very conscious of the fact that the seminar is poorly attended. Perhaps this says something about the rather poor level of intellectual debate in our field. Perhaps it is because we are offered the same fare; or because the younger dancers never felt comfortable to ask a question in the presence of their gurus. That the first generation of teachers and gurus shied away from the conference is understandable, given their reserved nature, their limited exposure, education patterns and particular specialisation.
However, the young dancers are not showing much spirit either. This is disappointing. They must attend, listen carefully, ask questions, interact with others in the field - at their own level and with senior dancers whom they only see onstage. I fervently hope Gurus will encourage their pupils to attend and will rearrange rehearsals for the afternoons during that week. This is a very small investment for such a lot of information, that one does not find in texts, and certainly does not hear in class. It is not neccessary to ask questions or seem to know the answers. We are artists. Our job is to work the limbs and body into levels of excellence.
Once a year however, it is good to fill the mind with some added information. Queries may be answered, maybe not. It does not matter. But the excuse that the fee is unreasonable or that rehearsals are scheduled is ridiculous! I hope everyone, including dance enthusiasts and parents of dance students will come and join in the deliberations. It will certainly make for a better conference.
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