DANCE REVISITED
THERE’S A RENEWED INTEREST AMONG STUDENTS TO PURSUE COURSES IN INDIAN CLASSICAL DANCE.
Eligibility:
Understanding of music (a mandatory subject) and Painting (a tertiary subject)
Study topics:
Technique, Expression, Theory, Language, Self-discipline
Institute watch:
Bangalore University, Mumbai University, Gujarat University, University of Madras
Nearly 18 months ago, while flipping through a leading national magazine, Delhi-based Vineet Kumar Nigam read about the Natya Institute of Kathak and Choreography. He had heard of the institute before and having been a student of Kathak for more than a decade, held its creator — Dr Maya Rao — in high esteem. That chilly winter morning, the prospect of immersing himself wholly and solely in classical dance for three years, seemed very exciting to Nigam. He dialled the number mentioned in the article, submitted an application, and waited to be selected. Exactly three months later, Nigam left his hometown Delhi to pursue a BA in choreography at the 44-year-old institute in Bangalore.
In his second year now, 24-year-old Nigam admits that the programme has significantly altered his approach to dance in general, and Kathak in particular. “The course is not merely about dance,” he says, “The idea is to think a lot, and bring a fresh perspective to your creation.” For instance, as part of his practical paper last year, Nigam composed a mythological ballet: “While interpreting and choreographing the scene, I had to rope in other dancers, my classmates, many of whom are from across the country and the world and are not necessarily trained in Kathak. That process of working with different people and styles can be very enriching for an artiste.”
At a time when the country is courting all things contemporary, it is heartening to hear 20 somethings show interest in antiquity and classicism. Chennai-based acclaimed dancer and choreographer, Priyadarshini Govind, agrees: “It’s great that youngsters are keen to study our tradition. The advantage with these fulltime courses is that they effectively combine the theory and practical aspects of dance. But the one thing I really hope we never lose is the guru-shishya parampara (tradition) that is so unique to our arts.”
Fortunately, institutes across the country that impart education in the classical forms — be it dance, drama or music — are serious about preserving that inherent philosophy. At the Natya Institute of Kathak and Choreography, the muchrevered Dr Maya Rao has over the years, created an “atmosphere for talent to blossom. In the choreography course, for example, I give them the basic guidelines and encourage them to grow.” In addition to a BA and a PG diploma course, both of which are affiliated to the Bangalore University, enquiries are pouring in for a recently introduced year-long diploma in choreography that is strictly meant for trained dancers. Peppered with guest lectures, courtesy experts from the performing arts, the syllabus covers subjects like “art and history of choreography, mime and movement, stage design and lighting, techniques of Indian martial arts and folk forms along with nuances of theatre. Our courses are designed to make a dancer a fine choreographer and artistic director,” says Dr Rao.
At Nalanda Nritya Kala Maha Vidyalaya, Mumbai, founded by Dr Kanak Rele, a renowned Mohiniattam dancer, choreographer, academician, and a pioneer in introducing dance education, the current batch of 130 students who are pursuing their Bachelor’s degree in dance — Bharatanatyam, Mohiniattam, Kathakali and Kathak — have access to an excellent recording studio, a library with archives of performances and discussions by legends in the classical arts. “In Nalanda, I believe,” says Dr Rele, “that you have to study the Shastras, the ancient texts and be modern enough to make them applicable to the world we live in today.” The fiveyear Bachelor of Fine Arts (Dance), two-year Master of Fine Arts (Dance) and PhD in Dance, affiliated to Mumbai University, are extremely intensive and require students’ unflinching dedication and commitment. “Soaking in dance full-fledged is a calling that needs to come from within,” says Dr Malati Agneswaran, HOD, Bharatanatyam at Nalanda. The good news is, even for a degree in Mohiniattam, a dance form typical to Kerala, Nalanda has many takers: “We have loads of students from in and around Mumbai who come to Nalanda to study Bharatanatyam and Mohiniattam.” Bijoy Shivram, HOD, Bharatanatyam at the JG College of Performing Arts, Ahmedabad, seconds that trend. “There’s a newfound interest in the performing arts, and surprisingly, students are very serious about it,” he says. The college introduced a degree in dance, music, and drama in 2004 and said courses are affiliated to the Gujarat University. A three-year, fulltime programme on all days of the week, equal weightage is accorded to both the theory and practice of dance. “The focus is on making students good performing artistes,” says Shivram, “Which is why we insist that those who apply for the Bachelor’s degree have trained in the classical genre for at least five years. Since inception, the department, that began with seven students, has grown in strength and now has as many as 30 students pursuing both the Bachelor’s and Master’s programme.
Among them is Prashant Shah, a versatile Kathak dancer and performing artiste, who was initiated into the form by the acclaimed Kathak exponent, Kumudini Lakhia. At 36, Shah is pursuing his Bachelor’s at the J G College. The inspiration to study dance formally, despite having been with Lakhia for 28 years now, Shah says, comes from the need to have a “thorough knowledge of the theory of Kathak. However, I also strongly believe that one does not need to master both the theoretical and practical aspects in order to become a great dancer. They are complementary to each other but not indispensable.”
Leela Samson, director of the Kalakshetra Foundation in Chennai that can easily be counted among the best institutes for dance education in India, and the world, believes that an understanding of music (a mandatory subject) and painting (a tertiary subject) while pursuing a diploma or post-diploma course in dance aids “creative expression.” In its sprawling, serene and almost sublime campus, students are initiated into Bharatanatyam. “Our focus is on everything they are meant to study,” says Samson, “technique, expression, theory, language and on self-discipline, without which you cannot be a great artiste.” As many as 40 faculty members, all of whom are past students of Kalakshetra, are part of the dance department.
The eligibility criterion for the Rukmini Devi College of Fine Arts at the Kalakshetra Foundation, is students between age 15 and 25 and who have completed their class X. “Prior knowledge of dance is not mandatory,” says Samson, “But it certainly helps to know something. Knowing too much is worse though because the body is moulded into certain points of view already and that is difficult to change. The selection is based on aptitude to live in Kalakshetra and do such a vigorous course.”
The two-year post-diploma course, for example, is not application based. It’s an extended programme and a select few are chosen. Two years ago, 22-year-old Gayathri Chandrasekhar didn’t get selected. But that didn’t deter her pursuit of this fine art. A second year student of the MA degree in Dance at the University of Madras, Chandrasekhar is enjoying the freedom and flexibility in dance that the department at the university provides. “Kalakshetra has its own style of dance,” she says, “At the university, I meet and interact with students from different styles of Bharatanatyam; learning and awareness are therefore the by-products.”
What adds to this ambience is the fact that the dance department at the university in itself is young, vibrant and growing. In 2004, Dr M Premeela Gurumurthy, chairperson, School of Fine and Performing Arts, and professor and head of Indian Music, University of Madras, introduced a selffinancing course for dance. Offering a two-year MA in Bharatanatyam, the course is meant for performing artistes. “In addition to teaching the margams, we also teach our students rare compositions, literary texts, the history of dance and of course music. The programme helps them not only to expand their repertoire but also study and appreciate subjects like Siddhantha, Vaishnavism, Hindustani music, etc, that are electives as part of the credit-based choice system of study.”
Not far from Chennai, at the renowned Kalamandalam, a deemed university for art and culture in Thrissur district, Kerala, prides itself for sanctimoniously preserving the gurukula tradition of learning. “For our students, the greatest sense of achievement is not the BA or MA degree, but the Kalamandalam tag that they can prefix with their name once they finish their course,” says Dr K G Paulose, vice-chancellor, Kerala Kalamandalam Deemed University. “Over the years, we have developed our own style and our acharyas (teachers) are very particular about retaining its purity.” With nearly 13 disciplines (that include rigorous and in-depth training in Bharatanatyam, Kathakali, Mohiniattam, Kuchipudi, and Kudiyattam, just to name a few) and 520 students, this residential centre that offers BA and MA courses, believes in initiating students when they are young. “Students who are over 12 years of age and have completed class VII, are eligible to apply,” says Dr Paulose. But it is only after a stringent practical exam that students are admitted.
In addition to pure, unadulterated education, students who step out of Kalamandalam not only bloom into accomplished performing artistes and choreographers but also land themselves respectable jobs as teachers of dance. “And that is integral to dance education,” says Dr Kanak Rele, “Some of my students may not necessarily be great performers but 98% of them are sound teachers.”
Sunil Sharma
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