In the classical dance arena there arises a very Hamletian dilemma: Does an arangetram/rangapravesam mark the beginning or end of the art form?
For most artistes, the journey begins as an extracurricular activity initiated by parents during their child's schooling. Later, if the learner takes it further without disturbing the academics well and good. The driving force for many is public performance and consequent applause and recognition. These unfortunately don't last long in dance or music. Further, arts never were and can never be a source of income like cricket, in India or abroad. So performing arts are pursued with an unending passion, in which the money factor is but a means to the end not an end in itself.
Which is why years of learning and sudden good-bye, is causing heartburn in many a dance guru, because a pupil is not just an investment of time and art, but the nurturing of a tender sapling into a plant, waiting for it to blossom into a tree! The pupil is eventually the guru's own reflection for posterity.
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Says veteran guru Hemamalini Arni, “In all honesty, after years of coaching, the student arrives at arangetram, which is a solo performance for a set number of hours. And once this is surmounted, most people consider it the culmination of the rigorous learning and relax thereafter. But there are a few genuinely interested dancers who are totally involved with the medium, but unfortunately, it has become an uphill task to get them a platform to perform. They have to use everything within their means to seek patronage from one organisation or other to showcase their talent. It is an arduous task and in order to survive, it needs recognition and encouragement. This scenario is strangling the art. ”
Similar views are echoed by Ananda Shankar Jayanth, “In my view classical dance is a harsh art form for woman, especially for those who opt to be performers. By the time the art is mastered and one is ready, it is time to opt for a career, marriage and motherhood, all of which have their deadlines within this age period. The last (motherhood) means being out of circulation for sometime. Coming back after that requires single-minded commitment, flexibility and practice. I feel, whoever wishes to pursue should be cherished for they are the next generation of artistes to take forward the art. Arangetram is a professional debut, but of late, it has come down to being a culmination of training. There is no money in it (there never was), but it can be taken up as a secondary career. For myself, I counsel my pupils to go for an arangetram, when I find them fit, only if they are inclined to take it forward. Or else, the mounting costs are a drain on their parents' purse.”
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To pursue dance as a secondary career, Ananda feels one should have sharp focus and cut down distractions — no movies, no frivolities. She vigorously advocates revival of State Sangeeth Nataka Academies which not only provide a platform for the young, up and coming artists but also serve as a benchmark by way of national recognition. By merging our own state academy with the Telugu University and leaving a patron of art with the Department of Culture or Cultural Council, we have totally handed over performing arts to academia and bureaucracy whose jurisdiction is rather restricted. State academies elsewhere in the country have schemes to sponsor talented artists and aid in research which is vital for the survival of the next generation of committed artistes.
Kuchipudi guru and performing artiste Deepika Reddy feels that ‘rangapravesam/ arangetram' “is the first solo dance of the dancer, not just the first dance. It is for the guru to ensure that the disciple is ready for a perfect presentation all by herself. These days the pressure from over-enthusiastic parents is too much; their primary question when they admit their child for dance classes is how long it will take to get on to the stage for an arangetram. What most don't realise is that arangetram is just the stepping stone. For most students it has turned into an extra sheet in their resume. I'm not against a parallel career, since sustenance from dance is no joke. Unless one is totally passionate, one can't move ahead with dance. My fervent prayer is to build a future generation to carry on this great legacy of Kuchipudi.”
Yashoda Thakore, another guru who has been in the field for long, says, “In my scheme of things there is no rangapravesam. There never was in our guru's style of teaching. We just offer our art to the deity of a temple. A few of my students have really taken to it and I feel happy that they have cultivated another set of pupils. Solo performances at an early stage will thwart humility and regard for the guru. Maturity in a pupil is a must in this art form.”
Sonali Acharjee, an Odissi dance learner agrees with most of the gurus that dance as a career for a woman is a tough choice. “I was an excellent performer but marriage and kid has dented my pursuance; coming back to it after a hiatus, is a battle for survival and fitness.”