Introduction of contemporary ideas in classical dance - the next step or illusion?
India has gone through extensive evolution in terms of technology, societal norms, practices, and the classical art field has been no exception to this changing times. Indian Classical dance has been considered as an art form for the classics and is not widely understood by the masses. However, with changing times this notion has also changed or is changing. Classical dance is now made available to the masses and artists have broadened the horizons of their art to reach the masses.
This article talks about the history of the themes chosen by artists in the earlier times and hoe there has been a shift from those mythological stories. Artists are now changing narratives of their performances and exploring new ideas and stories to be relatable to their audience. But whether this is the right step or not is discussed in this article through multiple discussions, interviews, and analysis of the history and present shape of the art industry.
INTRODUCTION: Indian Classical art is deep rooted in the Indian mythological stories and histories. The rich culture and history of India has been the basis of Indian art from the very beginning. Starting from the four Hindu Yugas, that are the Satya (or Krita) Yuga, the Treta yuga, the Dwapara yuga, and the Kali Yuga, and the 10 different avatars of the Lord Vishnu to every character that played a role in shaping the history of these yugas have had a huge impact on the stories portrayed in Indian classical dance to how they are portrayed and also on the Indian literature. Characters such as Lord Krishna, Lord Rama, Radha, Sita, Rukmini, Lord Shiva, Sati etc. are usually the prime center of Kathak dance stories and abhinaya. The way they are depicted also has a huge emotional impact on the audience because of the history.
However, there has been a shift in the stories that are relatable to the new generation. With the evolution of India as one of the fastest growing countries, there has been in influx of new philosophies and societal changes that have been the talk around the country. Topics like domestic violence, LGBTQ, hustle culture, mental health etc. have been attracting the current generation and so they show more keen interest in platforms that talk about these emerging topics. Indian Art has been no exception to this, there are young artists trying to create production around the current topics.
Indian Classical art, including Kathak has always gone through evolution with the changing times. Be it the shift from temples to courts to stage to online platform, classical dance has
evolved for the betterment of the art. As we know, evolving is a must to survive and so did classical dance.
Classical dance has welcomed new ideas and changes, sometimes with open arms and sometimes with a lot more rigidity. But as time passed, those changes have become the accepted norms of the industry. The changes are not just in term of concepts and topics of the stories portrayed, but also in the terms of the methods used to portray those stories.
QUESTIONS: The major questions that this article will deal with are:
1. Is indulging in contemporary concepts, to represent in Indian classical art, the next step in the Art industry or just diluting it?
2. Are we blindly following western concepts by incorporating it in Indian classical dance?
3. Where do we draw the line when it comes to evolving and diluting the art?
METHODOLOGY: The questions posed in this article are such that needs extensive research as well as a wholesome view of the community. To do justice to the topic and answer the questions I read the basis of Indian Classical Art, The Natyashastra, by Bharat Muni. Along with that I used also referred to Kumudini Lakhia’s biography, Movement in Stills, as she is considered the epitome of innovation and creativity, who has got some thought provoking changes the Kathak fraternity.
I also interviewed some renowned kathak exponents which have been following the tradition diligently like Guru Malti Shyam ji, Guru Nayantara Parpia [2] etc. As well as the upcoming young dancers of the community, as they would provide a fresher perspective in terms on the newer generation. Lastly, I also watched a number of old traditional performances and performances with contemporary topics such as dancing to theme based on a proverb, or mental health. And drew a detailed analysis and comparison between the two.
DISCUSSION: Classical dance, specifically Kathak has always gone through the unavoidable evolution. When dancer moved from temples to courts the themes of presentation changed from mythological stories to entertainment. The prime ‘Rasa’ or the ‘Sthayi Bhava’ changed from ‘Bhakti Rasa’ to ‘Shringar Rasa’ [9]. The presentation style became much more nuanced. It had a lot of Mughal influence to its vocabulary, costume, jewelry, dance pieces etc. Similarly, when Kathak shifted from courts to auditoriums the art become a lot more structured, detail oriented and for the audience. Even though the art form is primarily a solo performing art, group performances were appreciated. Thus, now when India is seeing a cultural shift towards westernization it is important to include those topics as part of the performance themes. Along with everything, art has also been a mode of communication and thus topics such as mental health awareness, domestic violence, or comic topics should be made a part of the presentation.
But based on the interviews dancers should take into consideration these points before choosing contemporary ideas.
The theme can be contemporary but not the medium. If the dancer has specifically mentioned a kathak performance, then mixing the art is a no go.
The dancer should not just innovate in term of topics but also in areas such as lights, stage use, props, sound effects and video effects. With the development and modernization there is a lot to offer to the audience in terms of technical support. So, one should not limit its innovation to the theme of the performance.
A dancer must understand and evaluate whose suggestions they want to take and who’s they don’t.
One should not blindly follow their Guru’s previous work but also see its relevance in the current time.
As Kumudini Lakhia ji said in her book, ‘Movement in stills’, “it’s better to become a bad original than a good copy.”
(Shah Movements in stills - The Dance and life of Kumudini Lakhia Pooja Bhattad)
CONCLUSION: Preserving our tradition is a must but it cannot come in the way of the betterment of the art. Tradition is grammar not language. Using the grammar of Kathak she makes artistic statements about the society, its problems. Along with respecting and passing on the traditional work of our esteemed gurus, an artist must contribute their original work to the field that has relevance in the present time. Artist must understand that innovation and creation only happens after you have studied the art form thoroughly. Therefore, before testing newer concepts in the performance one must gain mastery or at least full understanding of the art.
CITATIONS:
1. (Shah Movements in stills - The Dance and life of Kumudini Lakhia Pooja Bhattad)
2. Parpia, Nayantara Kurma.”Contemporary Concepts in Kathak Presentation”. 30Th March 2024
3. Radhika Karandikar,”Contemporary Concepts in Kathak Presentation”. 28th March 2024
4. Payal Sarda, “Contemporary Concepts in Kathak Presentation”. 28th March 2024
5. Parikshit Jain “Contemporary Concepts in Kathak Presentation”. 29th March 2024
6. Rama Thakkar “Contemporary Concepts in Kathak Presentation”. 29th March 2024
7. Sonal Baheti “Contemporary Concepts in Kathak Presentation”. 29th March 2024
9.https://liberalarts.dpu.edu.in/blogs/the-evolution-of-kathak-from-ancient-roots-to-modern-expression
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