Talent without takers
GOWRI RAMNARAYAN
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The festival features hundreds of artistes but there are some systematically ignored by sabhas.
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PHOTO: K.V. SRINIVASAN.
WAITING FOR OPPORTUNITIES: Girish, Ashwini and Nanditha.
With 74 sabhas big and small conducting over 2,000 recitals across the city from morning to night, wouldn't you imagine that there will be a dearth of artistes to fill all the slots? Every musician big and small should get a chance somewhere or the other. Why, even debut makers of the season send you mails, emails and sms flashes with lists of their season concerts.
But any sabha canteen or foyer has woebegone faces to say, ``No sabha has called me this year;" ``No slot promotion for years;" ``Can't fall at the feet of organisers;" and so on.
Two musicians and a dancer met on a terrace in the morning Margazhi light to share their frustrations. But suddenly tambura and veena became more than picturesque props. S.Girish burst ``Vidhiyilarkum Vidhikkumo," joined enthusiastically by Nanditha Ravi, while Ashwini Viswanathan's toe-tapping turned abhinaya. Their ``Nimatale Mayanura" had the photographer forgetting his camera to listen.
``I've been singing from childhood," begins Girish.
Nanditha was trained early by mother Rama Ravi, a follower of the same style. ``Up to 2000 I did get slots in select sabhas, not after that," she says and adds, ``But I must admit our style has never attracted crowds." Girish cuts in energetically, ``I think sabhas should definitely encourage parampara musicians. Otherwise they will give up music and sit in banks and software companies. Three Sangita Kalanidhis in my family. Why has everyone, even those who learnt from my family, forgotten me?"
Nanditha wonders if giving vocal support to her mother has reduced her kutcheri chances. ``You're better off compared to dancers," remarks Ashwini, a senior disciple of guru Jayanti Subramaniam. ``Not only are we not paid, we have to spend as much as Rs.8,000 per performance. Few sabhas don't insist on payment."
``I am preparing myself to start my career at age 40," says Girish amidst laughter. ``Anyway, the Dhanammal style is not easy. So let me get on stage as a ripe artiste." He is determined not to go into sidestreams though he did sing for Kuchipudi and Bharatanatyam with Vempatti Chinnasatyam's group and now for Indu Varma.
``A dancer is mature enough to perform only at 20-22. But how many can afford to persist in this milieu of no returns is something I don't want to think about and get depressed." Fortunately in recent times, many gurus organise them to showcase their work and students.
Empty halls
Do programmes organised with such effort draw audiences? ``Our family, friends and fellow students do make it," answers Ashwini. Even senior dancers are reduced to making innumerable calls to avoid an empty hall. Girish and Nanditha exchange an understanding glance as Ashwini describes how the packed hall for a music concert empties before the dance starts.
With such heartbreaks, do they ever think of giving up music and dance? All three chant ``No!" with an almost defiant vigour. ``I've joined a Ph.D programme. I want to enrich my knowledge," is Nanditha's reaction. Ashwini says she cannot stop dancing.
Since Nanditha believes that her style is not an easy one, is she thinking of changing or simplifying it? ``No, I trust in my style," she flashes back. ``Have you thought of singing for Bharatanatyam?" Ashwini asks Nanditha. ``Of course there's the danger of being dismissed as `only a dance singer.'"
``This may sound arrogant, but the hard truth is that to perform, it is no longer sufficient to have talent and skill," Girish shrugs. ``You need self-promotion and publicity." ``The association of Bharatanatyam artistes should take up this issue and help young dancers. Many senior dancers too are in the same boat," says Ashwini.
``I'm teaching children, I'm preparing them to accept my style of music. I'm preparing not only singers but future audiences," Nanditha concludes. Girish says he sings and plays the veena every Friday at home for his satisfaction. Ashwini knows that this is the time for learning and absorbing as much as she can. All three agree that they sing and dance first for their own joy and satisfaction. ``And no one can stop us from doing that. Why don't we start by doing something together?"
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