There’s been a paradigm shift in all fields of human endeavour. So it is not surprising to see art becoming entertainment. And in digital India, everything has taken on newer avatars.
“Contemporary art scene in India is getting more and more vibrant. This is because people want to make sense of their experiences of living in a modern world. They are constantly looking for ways to process the issues and their concerns and fears. We could engage with contemporary arts as a maker or a receiver. I often think that our body is the carrier of many experiences , which in a way shape who we are and define our identity. Therefore, when you work with your body, you are not only engaging with layers of history and heritage but also processing many of your deeper and personal thoughts. Therefore, contemporary dance as a medium is sacred and when expressed with commitment and conviction, encapsulates the spirit and pulse of our times,” says master of this medium Jayachandran Palazhy, who is the artistic director, Attakkalari Centre for Movement Arts.
Shama Bhate of Pune was inspired by S.H. Raza’s ‘Bindu’ series of paintings “because their contemplativeness and quietude helped my kathak seamlessly reach ‘sam’ .” Shama Bhate created many such works although they were more a projection of abstract paintings. Today many groups, especially contemporary, use technology such as laser lights and spilt screens. But it is important that technology does not overshadow artistic skills. Is it art or craft? The difference lies in the level of skill. When a skill is honed and mastered, it gives the illusion of being on auto pilot. Which is why, when one sees Valli or Malavika dance, it looks effortless. Few realise it is because of decades of practise and total surrender to art .
Madhu Natraj had done a commissioned work, ‘Vajra’ some five years ago. Where her artistry rose as her team created magic with movements backed by digital art as a prop.
Bangalore: 12/01/2009. Contemporary dancer and Choreographer Jayachandran Palazhy of Attakkalari Centre for Movement Arts (ACMA) speaking about "Chronotopia" a production by Attakkalari Centre for Movement Arts (ACMA) in Bangalore on 12th, January 2010. Photo: Bhagya Prakash K.
While India imbibes such trends and technologies from abroad and adapts it to local conditions, end results are reasonably good. ‘Jungle Book’ done by a Bangalore group, two brothers Bharat and Sharath Prabhat for NADAM fest was as good as a Broadway production. There was good synergy between stage and screen. 3D screen images made it a riveting show.
“Dance was always interactive. Only the mode of interaction keeps changing. In traditional folk forms a performer often turns the village or temple courtyards into a stage and makes his recitals interactive. According to Natyashastra and the Rasa theory, interaction between the audience and the performer is crucial in the production of rasa, which is the hallmark of any good performance.
“Natysastra even states that for a good performance, we need to have an ideal performer, audience and performance space. This, of course, one can only achieve rarely. This concept is still valid. A history of viewing helps the audience to understand and appreciate contemporary dance. Like any other language, the visual and theatrical language of the performance can be deciphered best when one understands the basic grammar and syntax of those forms. Classical performances are best appreciated when one has a basic knowledge of the stories depicted and some idea of what the mudras mean,” says Palazhy.
‘Matsyavtar’ was a breathtaking production by Mayuri Madhuri Upadhaya sisters, where underwater sequences attained depth due to digital projection.
They sought to create an underwater magic with movements and technology merging seamlessly. Their mega ‘Make in India’ productions for fairs and festivals, even abroad, has brought digital dance to the centre stage.
“The ephemeral nature of dance is the most special gift to an audience, transporting them to a higher level and bringing them in contact with something out of the ordinary, which otherwise one is not able to experience often. Digital technology and interactivity can augment this experience if used prudently, but it can also end up being redundant if an artiste is engaged in something for the shock value or to showcase the latest technical equipment he/she has access to,” cautions Palazhy.
The writer, a critic and historian is the author of several books and edits attenDance, a yearbook
