Friday Review
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The way and out of the way
B.R.C. IYENGAR
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After a successful tour of the US and Canada and a music recording with Paul Simon, Rajeswari Sainath is set for another season.
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East meets West Danseuse Rajeswari Sainath with Paul Simon at Toronto
Bharatanatyam is an art that consecrates the body, which by itself is considered as of no value. The ascetic by altering his breath and by modulating his body acquires the aura of holiness. Even so, the dancer, who dissolves her identity with rhythm
and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit. The big question is, has Bharatanatyam the unique art of Bharat sustained? “Indeed, yes,” says Rajeswari Sainath Bharatanatyam exponent, who has just returned from one of her foreign tours to US and Canada, performing under the banner, ‘Laya, Abhinaya and Thoughts’. Her concert was well received by packed audiences in New Jersey and Boston in US and Toronto and Montreal in Canada. At Toronto, the spectators numbered as many as 1,200. Amongst those was Paul Simon of ‘Simon and Garfunkel’ team, the famous composers in Western music. In addition there was a recording session of the performance in Manhattan in New York and lecture demonstrations at a few places.
If abhinaya was what she imbibed from her guru Indira Rajan, it was the succeeding gift of Almighty to get her closer to her uncle Karaikkudi Mani, the rhythmic maestro. With the combination of classic abhinaya and archetypal laya (rhythm), she blossomed into a dazzling proponent of Bharatanatyam of day. In the event took place the dignified birth of ‘Sruti Laya Kendra, International.”
“The precision of art taught by Indira, dogged discipline of Guru Mani, relentless practice for hours at a stretch, research oriented body turning, high level of perfection, right nutrition and meditation moulded me to become an artiste of reputation,” says Rajeswari. After two decades of training associated with many performances, she began thinking in terms of creativity. “My inspiration particularly in relation to rhythmic orientations, nattuvangam and choreography gave insight to complicated orientations in thisra thriputa thalam and khandanadai adi thalam lead me on to original contribution. It is the orthodoxy of traditional discipline which gives the fullest freedom in the individual creativity of the dancer.”
On training and learning Bharatanatyam, she says: “It will be hard in the commencement to be conventional to the strain and discipline of rhythm and melody, and to the standards and codes of the tradition. But, if the student modestly submits to the enormity of this art, soon enough she will find joy in that discipline, and she will realise that discipline makes her free in the delightful kingdom of true art. Young dancers who go in for innovations will find their hanky-panky approach does not last long, On the other hand, if they hang on to the tradition, which like the Great Banyan strikes deep roots and spreads wide branches, they will profit for themselves and those who watch them. The young will recognise the greatness of this art if they study it with strong input, serenely and without hurriedness.”
As to why so much make-up goes into dancing, she agrees that this was not the practice years ago. When so much
importance is attached to the looks of the dancer, it is natural that dancing is considered carnal and sringara vulgar. She totally decries it. As regards the orchestra that is echoing its poverty, Rajeswari explains that is because good singers do not so easily accept such engagements, unless the dancer is very popular. Her opinion: nothing should prevent one from leading harmonious and happy married life: “art can yet be practiced and perfected.”
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
