Natya Ballet Centre's Journey 3 comprised a series of beautifully choreographed compositions by four gurus and their students. The 15-minute vignettes explored different dance styles, Odissi, Bharatanatyam, Mayurbhanj Chhau and Contemporary. Utpal K Banerjee reports
For any new learner, entering the vast arena of dance— as a form of performative art — can be both enervating and exciting. There are limitless possibilities of reaching for the stars at one end. At the other end is the gruelling rigour of laid-down grammar to be assimilated after hours — and years — of relentless practice. like meditation, practice happens in the private parlours and is perfected under guru’s watchful eye. It is almost like a growing-up process, with a step-by-step graduation to standing positions and then movements, simultaneously discarding wrong habits, like shedding the baby-fat.
Dance grammar is related to, and to be imbibed from, its source. In India, all the eight recognised classical dances have remarkably clear-cut roots, deep into Bharata’s Natya Shastra and Abhinav Gupta’s Abhinaya Darpana, with regional variations like Shuvankara’s Srihasta Muktavali for Sattriya of Assam and Ramayana Sankshepam for the UNESCO — approved Kudiyattam of Kerala. The three Chhaus — Mayurbhanj, Searaikela and Purulia — have clear cannons emanating from local martial arts, although not recognised as classical yet. lastly, contemporary dance, of relatively recent origin, is an outgrowth of unmistakable Western influence.
Journey: Guru Shishya Parampara, presented recently by Natya Ballet Centre (NBC), was a display of colourful learning experiences for an assorted range of ages — choreographed by guru Anirudh Dass for Odissi, Sudha Jagannath for Bharatanatyam, guru Kishan Verma for Mayurbhanj Chhau and guru Ajay Bhatt for contemporary. NBC, since 1960, has been producing a varied repertoire of Indian dances based on mythology and render contemporary interpretations from a rich heritage of folklores. It has also been synthesising classical and folk styles of dance and theatre into innovative dance-drama.
NBC’s Odissi programme comprised a Shiva Stuti: adulating the lord as the epitome of benevolence, innocence and ascetism. The youngsters depicted Shiva’s many attributes — the matted hair decorated with a crescent moon, the neck entwined with a coiled serpent and the ash-smeared body signifying renunciation. The body-arches were reminiscent of bandha nritya of Gotipua boys which are given up by elder dancers. The Bhararatantyam programme had a Pushpanjali in raga Gambhira Nattai, as the beginners’ invocation with flowers, followed by a Shabdam in raga Kamboji, praising the deity of Brihadisvara of Thanjavur. The entire classical segment seemed somewhat elementary, needing more choreographic inputs.
Comparatively speaking, both Chhau and contemporary items were mature and disciplined. Prashikshan in Chhau was full of vigour, visualising how a good guru imparts precious knowledge and skills, motivating students to seek excellence with sincere ones blossoming and the indifferent ones falling by the wayside. Transparency in contemporary style was virile and vivacious, showing how transparency was the ease and clarity to identify and understand a practice through body movement, expression and balance.
Excerpts from interviews with gurus of the four genres:
Odissi
Motivation: I allow the learners to see all the forms and then make their own selection.
Distraction: Dance is one type of yoga, engendering commitment and concentration. Once the mind is controlled, the disciple is not distracted.
Bharatanatyam
Motivation: Over the years, there’s an eclectic mix in the class, with no south Indian preponderance. I receive complete sincerity.
Distraction: There’s a unique sense of focus. In the learning process, degree examination at the end does lend to self-discipline. Distractions are generally overcome.
Mayurbhanj Chhau
Motivation: Students join to get a good platform and are usually serious.
Distraction: Once they make the choice, concentration remains, regardless of distractions.
Contemporary
Motivation: Rhythm and resonance of the body provide the attraction.
Distraction: Interest is the main point, distraction is not an issue.