Veteran artists are unhappy with the state of many dance venues in Chennai. Before commencing a journey patterned over time and space, a dancer has to battle everything, from sagging backdrops, dirty toilets to missing lights, says Sruthi Krishnan
The curtain rises and you see the dancer, her immaculate jewellery and costume lit by a solitary beam of light. She raises her hand and commences a journey patterned over time and space. But to get here, the dancer has to battle everything, from sagging backdrops, dirty toilets to missing lights.
Both veteran Bharatanatyam exponent C.V. Chandrasekhar and eminent dancer and choreographer Anita Ratnam use the same word to describe the condition of most venues in Chennai when it comes to dance – pathetic. Mr. Chandrasekhar, whose illustrious career began in 1947, says that Chennai has only been providing “space to dance” and refuses to qualify most such spaces as theatres. “The so-called theatres have never been thought out for dance performances.”
Dance needs ambience, professional flooring, lighting, and the right kind of distance and perspective, says Ms. Ratnam. But the current state of infrastructure in most venues creates a “harrowing, nerve-wracking experience for professional dancers who care about every aspect of the experience,” she says.
Stage floor and lighting
Ideally, the stage floor has to be wooden, made in a way that it is slightly bouncy to minimise the impact on the spine, says renowned bharatanatyam exponent Alarmel Valli. Recently, some sabhas have re-laid the floor on the stage, she says. But apart from these exceptions, the stages are usually made of concrete, sometimes covered by wood.
These wooden floors are mostly uneven and can injure the feet, says Aarabi Veeraraghavan, a Bharatanatyam dancer. “People survive, it is ok, but it is easier if it is a little more well-laid.”
Some sabhas polish the floor, not realising that the dancer could slip, says Dr. Chandrasekhar. Recently, some sabhas have started covering the stage with a linoleum sheet to protect dancers' feet but it muffles the sound, he says. “You don't get the rapport which you get from a wooden dance floor. When you don't hear your own feet, it feels like dancing on grass or something.”
Very few places have permanent lighting, says Mr. Chandrasekhar. “Most of the spaces have some halogens fixed, to which the dancers have to perform. For any more lighting, we have to pay through our nose.”
R. Krishnaswami, president, Federation of City Sabhas disagrees. The onus is on the dancers to tailor their performance according to the facilities available, he says. “That's not being done,” he adds.
When it comes to quality of stage and lighting, halls that are permanent have better facilities than improvised ones, says Mr. Krishnaswami, adding that when an artist selects a hall, they have to commit to the facilities available there. “If you want to dance, you have to adjust,” he says.
Green rooms and toilets
The auditoria abroad have a smaller studio for warm-up, green rooms stocked with fruit and nut bowls, and bars of chocolate for keeping up energy levels, plus lots of water and fresh tea, say the artists. The amenities in the city are a far cry away from such international standards, they say.
“Many spaces don't have a dressing room,” says Mr. Chandrasekhar. If sometimes the mirror is chipped and old, at other times the bulbs don't function. So, most of the dancers get their own equipment, rather than depend on the venue, he says. Having only one room to change is a challenge during group productions with boys and girls, he adds.
When Ms. Ratnam started performing 35 years ago, her mother used to ensure that the toilets were clean. The situation doesn't seem to have changed much. Ms. Veeraraghavan recalls how she went to the bathroom before a performance and there was no water. It would save much anxiety if the green room and the toilet were clean and well-equipped, she says. “Everything could be a little more thoughtful.”
Mr. Krishnaswami says that he cannot accept that the facilities are inadequate. “In a city where even an inch of space is not available, it is impossible to provide facilities of the nature they now demand,” he says. In future, the changes could be made if proper funds are available, he says. But for now he says, “Difficulties are there, but there is no alternative. You cannot get all the benefits you want.”
Keywords: Margazhi music season, Bharatanatyam
Having just returned from a performance at Kozhikode in Kerala on Feb 16, I can safely say that the Kerala Government officials are a model example of how sincere efforts can be made even at a modest auditorium. The best hall, TAGORE HALL,was taken back at the last moment by the Govt for the visit of former president Abdul Kalam. Overnight, the smaller and less equipped space, Nalanda Hall, was transformed into a black box - wings, dance floor and lighting, specially hired from a trained designer in Trivandrum. The simple toilets were spotlessly clean. The attending staff were courteous and provided tea and biscuits along with mineral water. Media were courteous and the overall experience was tremendously satisfying. It was an example of how a combined will to make a difference can actually manifest.
I have just been performing in Chennai at two venues, The Music Academy and the Andal Auditorium. Though the facilities were far from satisfactory ( none of the green rooms had lights for makeup, only gaping light holders) I was actually surprised at the improvement. At least in these two there was water in the loo and the loo was clean. NO frills mind you. It was with a sense of desperation at the lack of caring attitude towards artists that in 1994 we built Natarani, our state of the art amphi theater in Darpana, Ahmedabad. Our brief to the architect was made up of two lists - all that we hated in theaters ( public toilets next to the green rooms, no private toilets, dirt, lack of clear mirrors, long passages to get to the stage etc); and everything we yearned for. As a result we have a theater that all artists love. An artist spends about four times as long in a theater as compared to the audience. Yet with typical charateristics, it is the 'show' part that counts, ie what the foyer looks like, what facilities and plush chairs are there for the audience. The nightmare at the back is not even considered by the architect. Recently two civic halls in Ahmedabad have been redone at over Rs 2 crores each. The backstage areas remain untouched as does the stage.
It is a pro-active debate initiated by Anita Ratnam for a cause that concerns all performers and it is our responsibility to take it to the next level of concrete action: a decent space with basic facilities is a fundamental right of every performer and he/she should have a say in choosing his/her space.Asking a performer to 'adjust' is a serious violation of human rights.
I am no performer but an ardent rasika who seeks connection with the art through the performing artiste every performance I go to and I have nothing to fear. I am tired of speeches and it is high time that there is a'retirement' age set up by trusts for sabha secretary post. With all due respect to their age, if the secretaries cannot 'see' the appalling facilities, cannot 'hear' the genuine complaints and cannot even 'acknowledge' the problem exsits in spite of so much feedback (like the three markatas -- see no 'evil', hear no 'evil' and talk no 'evil') and have no energy what so ever to rectify it, they have no business occupying the seat. Either they fix it or they should retire and let youngsters who have the 'vision', can 'listen' and also 'act' take over. It is heartening to see the dancers come ou speak but let us hope the next season brings in a change.
Thank you to all those who have participated in this debate online. It is so important to have our voices heard, and especially the next generation who are serious professionals. If we seniors have 'managed' and 'adjusted' for all these years, it is totally unfair to expect the next generation to continue this scenario of filth and rank laziness. How can we call this an international festival if we do not take pride in every aspect of the arrangements?.In the present cacophony of money and mediocrity, the apathy towards dance and dancers is only getting worse.
Anita Ratnam (on behalf of performing artistes) vs. Apathetic organizers.Sabash, seriyanna potti..Finally The Hindu's comment section is living up to its full potential and we are out of the 'Letters to The Editor' era.
I don't understand what Dr Ananda Shankar Jayant meant when she mentioned 'the ignominy of a 2pm slot' because S. Viswanathan writes that 'Narada Gana Sabha to provide 2 p.m. slot to a score of young dancers in the December season, where at least 400 - 500 rasika-s come to witness the programme' (http://www.thehindu.com/arts/dance/article950523.ece)
The issue is really simple. Dancers need clean make up rooms, working light bulbs, toilets that function with water and a clean stage surface to perform. This is a HUMAN RIGHTS issue, not just an artistic issue. Yesterday, at the city's most expensive auditorium, Lady Andal school hall that costs nearly 2 lakhs day, the green room for Ms Mallika Sarabhai and co, many of 25 artistes had no bulbs in the dressing rooms. After I arrived and yelled at the manager, the bulbs were installed - 2 hours before show time. Rasikas who attend for the air conditioning, canteen, sabha's name and decorations should now know and marvel at the artistes' resilience and passion to perform under such unclean circumstances. Wonder why Yesudas and Unnikrishnan bring their own sound and speakers to their concerts if the sabha staff were truly professionaland knowledgeable.
Considering that a fair percentage of the 'sabha-hopping' rasikas -- the paying public -- are senior citizens, the audience too should get good toilet facilities. But reading this article makes me realize how dismal the situation must be for them if the organizers don't even care about the performers!
Not only Ms.Ratnam knows the contributions of Mr.Krishnaswami but several of us do. Firstly, this is not about him at all. He is a man with passion for conducting art events and we all acknowlegde his service. This is about him being a senior organiser refusing to show empathy to the issues we have at hand. He serves (served) as the president of the federation of sabhas. Wouldnt a younger (much less committed and informed organiser/sec of sabha)take his lead and treat dancers and their needs even more callously? I believe when he comments he has his own premises and its average standards in mind. When younger dancers perform in arbit places and venues, the conditions there are far far worse and he perhaps should have taken a look before making a statement. On the other hand, if devadasis performed in temples, courts, and public arenas they didnt have, demand any such facilties. Was their musicality, divinity or dignity in anyway outraged because of this lack? While they might have felt the pinch (cmon!if you have got to go you have got to go...)and dealt with sore feet, blisters from dancing in hard floors, streets and no ventilation etc, the absolute absorbtion of all in the presence of divinity, the incenses, beautiful temple sculptures, everybody's overall reverence would have made up for it. But today dance is a commodity. We are selling it. Well, sabhas are selling it. Not from tickets perhaps but all that sponsorship they recieve. All the money they take from dancers. This is the only profession where everybody makes money through a performnace except the dancer herself! (sabhas, secs, accompanying artistes, lightmen, lensmen, doorkeepers, caterers). A good dance can surely be watched in any appaling surroundings, agreed. Things like these would cease to matter then. for eg say a Balamma (in a time wrap)in performance at that hideous German Hall! I wouldnt mind the seats or dust.But not all the time! So its time that these sabhas realize that people come to their venue not only to watch a performance ( not to forget that we are not there to watch Balamma) but to enjoy a good, comfortable viewing experience.
It seems that the discussion of this article forked to http://narthaki.com/info/rt/rtskrspn.html , where Dr. V. Ramaswami asks, 'What have the artists themselves done by way of donations?'. Now, isn't it our turn to ask Mr. R Krishnaswami where are all those crores of the unaccounted forced 'donations' (any tax official reading this?) - which are purely commercial payments - that the artists were coerced (by fraud!) to pay (even without getting receipts!) despite the performances being 'sponsored' by various sponsors? Can we see how that money was spent? If not, why Mr. R Krishnaswami on http://www.narthaki.com/info/rev10/rev968f.html is trying to monopolise the sponsorship market and elbow his competitors out of it: 'These sabhas are illegal and should be shunned by artistes and public,' he said vehemently. Whether a sabha is registered or not should be none of his business, right? So where is the transparency? Why do the parking boys at his Narada Gana Sabha want to collect back the parking tickets when we go home after the performance? Why are the tickets called 'donor passes'? Isn't it sheer fraud, tax evasion? I would like to know how much of his own (not of some credulous sponsors') time and money Mr. R Krishnaswami actually put in support of the arts, and how much of it was in support of his own self-importance, social status, political agenda, prejudices and personal ambitions.
Maybe the entire issues is not about 'criticism'. The question is also not about the dancer or the presenter. It is about amenities and how best these can be provided. In that sense it is a simple and practical issue. The larger issue seems to be 'who pays for it' and whether those responsible are taking out the money 'intended for amenities' and spending it elsewhere. It is also not just the dancer's facilities it is also about those that attend too. 1. there could be a few well designed halls that charge premium rates. 2. organizers to take a good and hard look at costs/charges. 3. the attitude to set right the situation rather than giving up.
The writer of this article and the newspaper have done great service to the current dance scenario in Chennai and elsewhere in India by highlighting this important issue.
I think R. Krishnaswami should have quoted the old Tamil proverb about unskilled dancers complaining about the poorly laid-out courtyard. The 'unprofessional stage hands at all venues' are as professional as the self-proclaimed 'professional' dancers who forgot that the devadasis who danced in the temples didn't have wooden floors there, did they? People flock to a Sabha not because of the quality of the performers it features (we have seen the worst dancers have paid hefty 'donations' and danced in all prestigious sabhas) but because of the Sabha's name, canteen, air-conditioning, decorations, regular audience, and staff.
theatre architecture is a subject unknown to most people running sabhas in Chennai. A chapter has been devoted to it even in the 2nd century BC text on dramaturgy, the Natyashastra. Presenting performing arts is an art in itself. I remember the Sangeet Natak Akademi organised a seminar at Max Mueller Bhavan in late eighties to discuss and recommend the necessary changes to be made in the performance spaces available in Chennai, mostly under the custody of sabhas, a ''unique'' phenomenon of Chennai. But nothing seems to have been done. More than money, it is the will to do that is lacking with the sabha managers. Both central and state cultural establishments set aside funds in their budgets for building/improving performance spaces. sabhas take grant for festivals but not for building/ improving technical facilities like light and sound. Specialists in stage design and architecture have to be consulted. Models like Prithvi Theatre in Munmbai and Rangashankara in Bengaluru should be followed. A vigilant group of dancers, theatre people and musicians should unite and fight for improving the conditions of auditoriums in Chennai by taking up these issues with the government and private art patrons.
Wow! Since when was an unclean toilet 'adequate'? In my opinion it is same as no toilet. Hold till you get home. Make sure your programme is short. Burn incense and do rituals if the smell of urine and antiseptic get to you. These are the options being offered?
Now this is like reading Nobel Laureate VS Naipaul's book "Area of Darkness". This adjustment culture should go! If you want performers to adjust to what you provide you have to adjust to what they provide! So the quality of art goes down. In the name of season, culture etc., we know a lot is being made. But have the decency to provide proper toilets and green room for the artists, who are mostly ladies!! If you can't do that also, wind up your so called sabha, and get out of the season, unless you are there only for the lure of lucre. Zero tolerance for inadequate facilities and substandard performances. Don't fleece the so called Rasikas, who know nothing much about it but flock only for an entertainment, which they identify themselves with for various stupid reasons. Nothing Personal!
May be we should be thankful that R. Krishnaswami did not go to the extent of quoting that old Tamil proverb about unskilled dancers complaining about the poorly laid-out courtyard! If the constraints are financial that is the explanation he should have offered -- not talk about adjusting and the like.Is there any constraint on providing clean bathrooms as well? Speaking of green rooms 'stocked with fruit and nut bowls, and bars of chocolate for keeping up energy levels,' also seems pointless where even the most basic requirements are not met! Excellent topic though - this is something that should have received coverage even in the past.
I am in no way making personal attacks on Mr Krishnaswami. But I AM objecting vehemently and vociferously to his condescending statements about dancers and their dance. I am really gratified that this issue hasa come out into the open. Already 'THE HINDU' has published three articles by various artistes on this same topic. Young dancers may be shut out of the sabha if they are seen complaining or even participating in this discussion. Many diva, star, senior dancers are really not bothered since Chennai has ceased to be the epicentre of their dance universe. The larger discourse from non-dancers is more interesting since they loook at it as a basic human right. I would to remind Mr Krishnaswami and all sabha secretaries who are the self apppointed arbiters of taste about a line from the first SPIDERMAN movie "With great power comes great responsibility".
While the state of dance venues in Chennai is appalling and the attitudes of organizers even more so, the lack of unity among dancers in confronting this problem is disheartening to say the least. Senior dancers who pull in crowds and don't have much to lose could interact, take the lead as a unit, and protest by not performing unless basics are provided for. I am sure committed young dancers with concern for the art will follow this kind of an initiative. An organization like ABHAI could communicate and work with sabhas to bring about better facilities and standards of presentation. The issue is also the staggering number of performances during the season that gives no time for 'niceties' such as a clean stage, clean restrooms, a tech contract, courteous and cooperative tech, a detailed sound and light check, introduction of artists before a performance, which are all imperatives when one performs in the US. How does the dancer focus and get tuned into the performance when he/she is constantly worried? Try sitting on the floor of the stage where the dust triggers your allergies immediately. Does this mean we have to adjust our choreography to not sit? Try using the dirty Indian style restroom after you are in full costume and have hydrated yourself to the hilt without getting your costume wet/dirty. Does this mean we should adjust and not hydrate? Try finding the tech person who shows up 15 minutes before the performance and disappears in the middle. Does this mean we adjust and just dance with whatever light/sound is on at that time irrespective of mood of piece without getting distracted? Try getting used to altered sound levels and insults hurled at accompanying musicians during the performance! Try talking to audience members who want to give you feedback and maintaining the euphoria and dignity after, when you're unceremoniously being shooed out of there to make way for the next star. These are just a few examples of adjustments we have to make. After years of work a dancer puts into the art culminating in the performance, is it too much to expect that organizations reciprocate with these minimum requirements to enable an above par performance? If we have to 'adjust', then the sabhas and audiences have to 'adjust' to mediocre output from dancers, and if everyone is adjusting, doesn't the quality of art as a whole suffer?
The comments made by Mr Krishnaswamy are appalling to say the least and shows his apathy towards art and the artists. He seems to be only focused on the big bucks out of the music season. It is a matter of great shame and grief that the present and future of city sabhas lay in such inept hands. Patrons and sponsors should show more involvement by taking steps to monitor the conditions which will attract good performances and audiences, which will in turn give them more visibility. Come on Mr Krishnaswamy, pls start respecting artists, if not as professionals, at least as fellow human beings.
While all of India seems to be dancing in one reality show or event, the state of classical dance is at its nadir. Presenters of dance in Chennai, feel that they are doing dancers a favour. They are comfortable with music, because their outflow is only artistes' payment (if any) and sound (good/bad or indifferent). But for dance they have to also provide a stage, lights, green room and yes, clean toilets.. Don't you know how much that costs! It is all about the green bucks! Where is there any art here? It is all about the balance sheet and profit! How can hard-earned corporate sponsorships for the conduct of the season programmes,be frittered away in providing lights and toilets? And that too, for dance?! Come on guys... you can't be that unfair to the presenters of The Season! They must earn their daily/yearly bread! How can you reduce that take home package, by asking them to spend on lights and stage for God's sake?! It is a no-win situation. The sabha wont give the required equipment, and if you do with less than needed equipment your programme suffers, with critics commenting on it in their reviews.. Any which way it is the dancer who is at the receiving end. So to save their performances, most dancers pay for the extra lights! Dancers, lets face it: the Chennai December season is only for music.. dance is a far second, and unless programmes are curated better it is only going to get worse. Let us ask ourselves this one question: Do we really need to dance during the December season? Do senior dancers have to submit themselves to the ignominy of a 2pm slot? Do dancers need to dance on dusty stages with little lights and suffer this attitude at all? And why and to what avail? Is this really a world class festival that it is being made out to be? Or is it only a local festival, run by a few people, who are more into making money for their families, societies, sabhas etc at the cost of the classical arts? Is Chennai season the proverbial emperor's new clothes?
Unfortunately, it seems organizers have no idea what an Artist puts into each and every performance. The time, thought, sweat, practice, and singular focus that goes into trying to bring things together to the best of our abilities in the moment of performance, is no easy job. IF we are battling with a cranky technical crew, or a lighting man who has suddenly stepped out and left his assistant who has no idea when to turn the lights on and off, how are we to bring our best to the performance? How are we to keep our mind and body fully tuned into the moment? Imagine giving a singer a broken, off sruti tambura and saying - SING! And on appearance - we take two hours to get into costume, make-up, jewellry, etc for the stage. Isn't the stage part of the visual experience too? Stained curtains, unfocused lights, etc? Imagine if dancers rolled onto the stage in sleeping clothes! The general attitude that the Sabhas are doing us a HUGE favour by providing a platform has to change. The Artists are the face of the Art! If there is no respect for the Artists, where is the respect for the Art??
It sounds like someone who is at a powerful position (powerful in terms of 'booking' artists and with no connection to the art itself)does not value what art and culture and history he, unfortunately, is disrespecting. But this is not only for dancers... musicians, theatre artists, painters and every kind of artist must realize they are not being treated right. Though it does not impact our concert as much as for dancers, bad stage conditions, inadequate green rooms and bath rooms are just as much of a nuisance to us. If there is not enough money, don't host concerts. If there are bad performance conditions, don't perform. Audio is terrible in many sabhas, and ruins many concerts... where is the experience of art and creation, if the artist has to keep thinking about 'adjusting'?
I do not find any difference in what Mr. Krishnaswami and Ms. Anitha Ratnam are saying. In order to improve the current status, the first step should be for senior dancers to communicate their grievances to the venues. If there is still no improvement then they must REFUSE to perform in such venues. To express one's opinion is no sin. Unfortunately, Ms. Anitha Ratnam has started a personal tirade against Mr. Krishnaswami and I hope this is not intentional. She must be knowing Mr. Krishnaswami and the service he has done to patronize the arts and artistes and I'm sure none of the other commentators even remotely know him. Let there be a healthy debate on improving the facilities.
I am appalled at the lack of empathy and concern that sabhas and secretaries show to dancers. I have been seeing several performances this season and I get the feeling that somehow dance and dancers are given step-motherly treatment. Case in point, yesterday I went to watch a friend perform for the Indian Fine Arts Society at German Hall. Pathetic, faded and crumpled backdrops, dusty stage and awful sound system! To top this all, they couldnt even generate an audience of 50 people! I was sitting in the front row and every time the dancer thumped her foot on the floor the dust was hitting my face, so much so that i have an allergic cold today! So, this is not only the problem of the dancers but also the audiences. But like Ms.Ratnam says, no one individual is going to be heard. I have already said 'no' to paid dancing and 'patronized' dancing years ago. but i seem to be almost one of the few who have done it and consequently am left behind often in the 'race'. I am not at all regretting it but hoping that atleast for this issue our dancers here will unite and make our voices heard. Its time we also let the patrons and secretaries know that we are not desperate to perform no matter how terrible the ameniities are and how bad the treatment and attitude is.
"R. Krishnaswami, president, Federation of City Sabhas disagrees. The onus is on the dancers to tailor their performance according to the facilities available, he says ... That's not being done,he adds...'If you want to dance, you have to adjust' he says." This is outrageous! Chennai is supposed to be a cultural Mecca, but clearly the city and its sabhas want the tag without thought for the infrastructure that would make it a reality. This person makes it sound as if the only beneficiary of a performance is the performer; the reality is that Sabhas benefit a great deal as well, maybe more. People flock to a Sabha because of the quality of the performers it features not because of the Sabha's name, decorations or committee members. It's no consolation to anyone that disregard for infrastructure and laziness about detail characterise every sector of life. Every single sector merits that attention, and the arts are not an exception.
Has Mr. Krishnasami ever attempted once to put himself in the shoes of the dancers that he is criticizing? Contrary to his sentiments, it is not unreasonable for any artiste, dancer or not, to be treated with proper courtesy and respect. That also means making certain that the venues have all the amenities required - and they do indeed include proper lighting, a proper greenroom, toilets, and a staff that not only is competent but also courteous to all who use the facilities. It is what artistes are rightfully entitled to in the United States, and I am certain the esteemed Mme. Ratnam and her colleagues will be grateful on the day Mr. Krishnasami learns to appreciate this fact.
I think Mr. Krishnaswami's comments need to be taken in the right spirit. He refuses to admit that the facilites are inadequate. 'If you want to dance, you have to adjust,' he says. So the practitioners of Natya Shastra, please make sure you know the 65th art of relieving your bladder while trying not to breathe in the stench and not throwing up at the unsanitary sight of a bathroom that has not been cleaned/maintained/functioning for a while now. A dance floor that has probably not been cleaned since Balasaraswati's era is to be touched with the bare hands followed by your eyelids. The sweat and dirt of all past dancers should be a boon to be danced upon with your feet! 'In a city where even an inch of space is not available, it is impossible to provide facilities of the nature they now demand,' he says. We all know how much space is required to put up a black backdrop, to put up bulbs and provide raised platforms in green rooms which need just partitions and a mirror backstage. Why cant the dancers just hold their make up kit, pins, clips, jwellery, dress in their hands? You dont see Goddess Durga whine about having to hold 10 different things in her hands while simultaneously killing Mahisha. Learn up dancers and quit complaining!
I wonder what needs to change....basic non-negotiable amenities? Forget fruits and chocolates; what really needs to change is the approach and attitude to these issues.'ADJUST' is a very lackadaisical reply from such a senior person and something that is so now familiarly Indian to us! Unfortunate for the country with such a resplendent heritage in the performing arts.Not surprising that there is so much interest in 'alternative' sites of performance nowadays.
If a leading arts Academy can provide adequate facilities (after a leadership change), I wonder why other sabha's can't take steps in that direction, instead of the Secretaries of the Sabha's complaining about the (un)just demands from veteran dancers. India is racing towards a being a world leader in commerce and technology, with plenty of wealth amongst the corporate sponsors. Isn't it the responsibility of the Sabha management to find and channel this sponsorship potential to benefit and propagate the arts, take care of our veteran dancers and encourage such professionalism in the arts, that is already present in the rest of the world? I do not think that our dancers are asking for additional space but to bring that 'inch of space' to professional standards.
Mr. Krishnaswami should first get the blazes out of that position he holds. What arrogance and lack of desire to improve. No aspiration to a better future. Such ossified attitudes are the bane of the development of our arts. Providing some light energizing refreshments, decent lighting, and clean facilities are *incumbent* upon any self-respecting sabha. This man clearly does not belong and is inimical to progress. Get someone with a vision and a passion for progress into that position. He is clearly out of sync with modern thought.
Chennai has always held a pride of place in being a centre for music and dance. It is really sad to hear - for somebody from Calcutta - that basic amenities such a good dance flooring, lighting etc that we dancers and organisers in this city take as a given are difficult to get in Chennai. Yes, world-class amenities may be problematic to provide, but unless the so-called patrons and presenters of dance (Sabhas in Chennai definitely being looked upon to as both) work with dancers to find out how to improve amenities and facilities given circumstances we work under - we are really not going to get anywhere. Sabhas are not doing artists a favour by presenting us. Sabhas exist to serve the arts, and so do the artistes. The arts are NOT being served by refusing to identify problem areas and being open to improvement in every area of the arts - and that includes presentation.
Until artists complain with their checque books through donations and active voluntary participation to improve various aspects related to their profession, their complainta cannot be taken seriously. We scientists do much volunteering without payment and are equally talented too. Why not at least the senior and monied artists start thinking and act that way? The world doesn't owe us anything; start with that premise, please.
It still amazes me that a place where large number of people gather for a few hours lack basic sanitation that is clean and neat to use. What is so squeamish about bodily functions and the need to use toilets whether by members or the performers? As for the performance stages, the less said the better. No one is interested in investing in making a world class facility that would make listeners pay up to enjoy the privilege of professional performances. So, we will be stuck with 1950s 'halls' that would serve as stages with loud sound, dead zones and other irritants that force performers to worry about things other than their act. And the comments by the Sabha owners don't help. One can only presume, the funds they have is too little from doing these expensive renovations.
Mr. Krishnaswami should be aware that without dancers, the sabhas would become irrelevant. Dancers work hard all their lives, often in difficult circumstances, to perfect their art and prepare themselves to be seen by the public. Why would they not expect the most basic amenities? This is the 21st century, not the dark ages. Clean, working restrooms and dressing areas, backstage hospitality, and a sprung-wood floor that enables the dancer to perform without danger of injury are not luxuries - they are simply requirements for presenting art. I have often wondered how Indian dancers can continue dancing on concrete floors, a condition which would send American dancers out on strike in a heartbeat - the damage to ankles, knees, and back is incalculable! These magnificent dancers who have become the iconic symbols of India's traditional culture deserve only the best, not this kind of patronizing brush-off.
If Mr Krishnaswami has such opinions, why does he have dances in his auditorium? I definitely think the dancers should refuse to perform where they are not being respected.
Excellent article. India should spend billions on its history and culture - classical dance, music, arts,etc. so that people once again start to take pride in their country. This is the root of all evils from corruption to lack of innovation.
I think it is time that the leaders of the Sabha unions like R.Krishnasami be changed. I quite understand the resource crunch under which these sabhas may operate. But his comments are not justified and are downright callous. Lighting, clean toilets and greenrooms are basic amenities today. And first of all artists must be given a little more respect that is evident from his comments. It is more the attitude which should be condemned. There are fairly wealthy and educated cultured patrons for the classical dances in Chennai than for any other art and if they think sponsoring these amenities is not a challenge at all. I request these patrons - the highly respected TVS family, Sanmar family & ICSA group family to give this a thought and fix these issues for the forthcoming years.
The comments made by Sri Krishnaswami of Narada Gana Sabha is a typical smug reaction from someone who feels that dancers are nuisances, whining and complaining. He is living in an era of halogens and tubelights. Phuleeese. The current sand coloured curtain as backdrop for the Narada Gana Sabha is an idea from hell. The rude techincal staff who meddle with sound and lighting postions after they have been fixed and the unprofessional stage hands at all venues makes professional dancers pay for services that the sabha should be providing as a responsiblity. This is a serious problem and unless the sponsors are also willing to agitate for change and senior dancers REFUSE to perform under these conditions, the sorry state of dance presentations will NEVER change.
Presently, we may not have the best of facilities, but it does not mean that the Sabhas should refuse to provide even basic facilities like clean toilets, separate rooms for change of costume, adequate lighting as required by the dancers, etc. What do you expect when even the elementary schools in India have no proper toilets or water for the little kids? Sorry to say that the reply from the President of City Sabhas sounds pathetic! It is as if the Sabhas are doing a great obligation to the eminent dancers! This is not the way to treat our cultural icons of India.
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