Posts: 6
Location: Montreal, Que
Posted on: 28-03-04 09:36:52
Location: Montreal, Que
Posted on: 28-03-04 09:36:52
Quote:
jake3d
Senior Desi :Moderator:
(23-03-04)
Mamata ji,
Your answers are very informative. It is also interesting to know of your collaboration with artists and experts in other dance forms. Based on this here are a couple of questions
1) Has Kala Bharati collaborated/performed with other artists in any experimental/innovative fusion art? If so, how does Bharata Natya (which is a traditional art form) lend itself to different interpretations?
28-03-04
Kala Bharati has collaborated with other Montreal based artists leading to some interesting projects. I would like to specially mention Dansjazz-ku, one in which three different traditions: haiku, jazz and Bharata Natya were blended.
Dansjazz-ku was created in collaboration with (haiku) poet David Neudorfer and jazz musician Jason Selman, and first presented on 15 September 2001, during a festival of Haiku in the Japanese pavilion in Montreal’s Botanical Gardens, an ideal venue for such an intimate creation. Jason’s music interpreting the moods and images in David’s haiku, furnished the foundation on which I choreographed the movements in Bharata Natya, which were executed by Jaya Srivastava, the dancer.
Although Bharata Natya is a traditional art form it is possible for someone who is imaginative enough, to push its frontiers within the frame of tradition and come up with something like Dansjazz-ku. The narrative and expressive aspects of Bharata Natya dance movements, more commonly referred to as Abhinaya, using gestures and facial expressions, lend themselves very well to interpretation of any text based material. A review of Dansjazz-ku is available on our website, which gives more detailed information.
Quote:
2) Most art forms are in a state of constant innovation and evolution. Can the same be said of Bharata Natya? If so, are these changes and experimentation more common with Bharata Natya artists in the West than in India? Can you tell us about any differences, if any, in the way the art form is practised in India and in Western countries like Canada when it comes to interpretation of the same?
Yes, it can be said that, as is the case in most art forms, Bharata Natya is also in a state of innovation and evolution. These changes are taking place in India as well as beyond its borders. It is difficult to say with any kind of certainty that these innovative changes are more commonly found in the West and that experimentations are being carried out more by Bharata Natya artists based outside India. However, it is true that Bharata Natya dancers based here in Canada or in other Western countries have greater opportunities of being exposed to and interacting with artists from different Western dance styles. This cross-pollination offers more possibilities of experimentation leading to innovative creations.
While we are on the subject of new trends in Bharata Natya, I would like to make a mention of a book published by Marg in January this year. It is a collection of essays and articles edited by the noted Indian dance scholar Dr. Sunil Kothari entitled New Directions in Indian Dance. If one goes through the book one will realize that basically there are no noteworthy differences in the way the art form is being practised or evolving here and that in India. Having said that I would like to add that all true artists lend an individuality to their chosen forms of art, and it is this personal quality that goes beyond merely mastering the technique of the art and which contributes to making every interpretation unique in some ways.
-----mamata niyogi-nakra
Mamata ji,
What would you think is the ideal age for a child to be introduced to bharat nataya? Do you have a different method of instruction for your younger students(approx 5-10yrs) ? What are the learning challenges for your younger students and how do you help them with these challenges?
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Posts: 6
Location: Montreal, Que
Posted on: 03-04-04 15:50:38
Location: Montreal, Que
Posted on: 03-04-04 15:50:38
Quote:
jake3d
Senior Desi :Moderator:
What would you think is the ideal age for a child to be introduced to Bharata Natya? Do you have a different method of instruction for your younger students (approx 5-10yrs) ? What are the learning challenges for your younger students and how do you help them with these challenges?
(3-04-04)
Your question brings up some important points. You will get different answers, as, not unexpectedly, opinion is divided on this important issue of what the ideal age is for a child to start training in Bharata Natya. Some may feel as soon as the child is ready to undergo the training, perhaps four or five. It is a serious matter which should concern dance teachers and parents alike and much thought should be given to it.
I personally strongly believe that due to the physical constraints of a child below the age of seven when the bones are what my Guru Srimati Chandrabhaga Devi used to refer to as ‘green’, it is prudent to start serious training at seven years and after. Rigorous training in Bharata Natya involves stamping the foot on the ground with a knee bend. This stamping while in the basic stance or posture, known as Ardhamandali, demands physical strength. Ideally speaking, training in Bharata Natya, as is the case in well-known western ballet schools, should not start earlier than seven to avoid any risk of knee or other problems that show up later on due to undetected childhood injuries.
At Kala Bharati we have special pre-Bharata Natya classes for the very young students in the age group 4-7. This group is called Kinikini. The classes involve story telling narrating incidents and expressing different emotions, instilling a sense of rhythm (tala), movements exploring space and time, imitating animals, using masks, introducing the hastas (hand gestures) of Bharata Natya etc.
The greatest challenge for teachers of the Kinikini group is to sustain their interest in the art form throughout the period till they are old enough to start regular Bharata Natya training. Apart from the activities in the dance classes they are asked to do some dance related activities outside class. These are described in a Notebook I had brought out called Nrityalekha1 for junior students. It has games, quiz, colouring pages, and other fun activities centred on dance for children.
Bharata Natya is, in many ways, a culture specific dance. For a better and an in- depth understanding of the art, the teachers have to constantly supplement the training process with teaching material and projects on subjects and aspects that would be imbibed through osmosis in India. Teachers in this part of the world are imparting Bharata Natya training in a cultural vacuum, so to speak. The other challenge then, is to create and provide a culture-specific context in which the students, young and old, can train well so that they are able to imbibe and to transmit the essence of Bharata Natya.
--------mamata niyogi-nakra
Mamata ji,
Do you have many male students? Most people associate Bharat natya as an art form meant for women. How would you address this? Can you tell us about the contributions of some of the male proponents of this artform.
Also can you tell us about any artistes who inspire you personally?
Thanks
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Posts: 6
Location: Montreal, Que
Posted on: 14-04-04 18:41:06
Location: Montreal, Que
Posted on: 14-04-04 18:41:06
Quote:
Do you have many male students? Most people associate Bharat Natya as an art form meant for women. How would you address this? Can you tell us about the contributions of some of the male proponents of this art form?
Also can you tell us about any artistes who inspire you personally?
Thanks
14-04-04
Your question contains an astute remark. There is indeed a perception that Bharata Natya is meant to be learnt and performed by women. However there is nothing inherent in the art form that precludes its performance by males and there have been quite a few very good male performers.
This notion of associating performance as an activity for the female is prevalent in the case of other dance forms as well, including Western ones. The dance world is dominated by the names of male teachers and choreographers but when it comes to performance on stage it is predominantly the domain of the women. This gives rise to the impression that the males act as conduits to transmit the art and the females as the vehicle through whom the art is projected. This situation in Bharata Natya is similar to that in other fields. Think, for example of the conductors and composers in the context of music or the chefs in reputed restaurants.
It is not easy to fight this imbalance as it is intimately related to the question of the economic viability of careers in the arts. In our school in Montreal we have had very few male students. I was fortunate to have had two serious ones, both completing their training to give their Ranga Praveshes and continuing with teaching and performing well past that. Benoit Villeneuve, known also as Jai Govinda, trained with me at Kala Bharati and was with us from 1980 to 1988. He is at present based in Vancouver where he is teaching and performing. The other, Saravanan Sundararajan, has been with Kala Bharati since 1985 and has been involved in teaching as well as in performing as an active member of La Troupe Kala Bharati.
It will not be fair or easy for that matter, to name one artist as my source of inspiration. I have been inspired by many and not necessarily only dancers. The inspirations derived from them have been different in both degree and kind. True creative artists leave an imprint on my mind through their creations and, on some fortunate occasions, through my interactions with them.
-----mamata niyogi-nakra
Mamataji,
My last two question borrow from your remarks in your last post.
How economically viable is it for a Bharat Natyam artist to pursue the art as a career in Canada? What would your advise to an individual considering the same?
Thanks for your insightful and informative answers. I do hope you will continue to frequent this forum even after this small online exchange.
On the behalf of Canadian desi, I would like to take a moment to thank you, for your and La Troupe Kala Bharati's efforts in proudly representing and promoting our heritage in our adopted country.
All the best.
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Posts: 6
Location: Montreal, Que
Posted on: 05-05-04 15:40:53
Location: Montreal, Que
Posted on: 05-05-04 15:40:53
Quote:
Last Question
Mamataji,
My last two questions borrow from your remarks in your last post.
How economically viable is it for a Bharata Natya artist to pursue the art as a career in Canada? What would your advice be to an individual considering the same?
Thanks for your insightful and informative answers. I do hope you will continue to frequent this forum even after this small online exchange.
On the behalf of Canadian desi, I would like to take a moment to thank you, for yours and La Troupe Kala Bharati's efforts in proudly representing and promoting our heritage in our adopted country.
All the best.
A widely held belief, and not without reason, is that not everyone can carve out a successful professional career being an artist. However, as is true in the case of all other performing arts, pursuing a career as a Bharata Natya artist can be economically viable. It depends, to a large extent, on how good, how serious and dedicated the artist is. I know of dancers in Canada who are indeed successfully pursuing a professional career in Indian Classical Dance as performers and teachers. I also know of a few in the U.S., who have given up lucrative professional careers they had trained for, to devote full time to the practice of their art and they have had no reasons to regret the choice they have made. However, in most cases, either out of choice or necessity, artists do seem to want to combine work in their respective fields with some other jobs to make a living.
My advice to anyone interested in pursuing Bharata Natya as a profession is to evaluate their individual situation carefully, weigh their options prudently, find out what the market has to offer and once they do decide to take it up give it all they have to make it viable.
This being my last installment I would like to add that I have thoroughly enjoyed this experience of being interviewed online. The points raised were significant and pertinent. I think it is a marvelous way of exposing artists and their work in Indian art and culture to our community. I am thankful to you for giving me this opportunity.
--------mamata niyogi-nakra
