|
Music Season
Aesthetic vehicle of self-expression
|
Artists are enjoying the space and freedom to go on a personal creative journey, which translates as choreography. CHITRA SWAMINATHAN
|
CREATIVITY AT WORK: Communication through movement. (Bottom, from left) Anita Ratnam, Dhananjayan and Sudharani Raghupathy.
Bharatanatyam is in a buoyant phase. Dancers young and old, solo or in a group are letting their imagination soar and take myriad forms. Choreography in particular has become an exciting mode of self-expression. Dictionary defines choreography simply as “arranging or designing of ballet or stage dance.” But a brilliantly choreographed piece is one that perfectly fuses move
ment, music and the mind.
“No. It doesn’t stop with the three Ms,” says accomplished dancer-choreographer Anita Ratnam. “Theatre, voice, expression, visual arts, contemporary life, politics and so much more goes into the making of an inventive person. A choreographer should be alive to life. There shouldn’t be ambiguity in what you are trying to communicate.”
Renowned dancer and teacher Sudharani Raghupathy, who sees choreography as the use of space (individual, in relation to others and that of the stage), says, “You need to first envisage the whole production in your mind. Have a clear idea about the theme or focus and how you are going to develop it. Discuss the subject with an expert, coordinate with the musician and the set, costume and light designers.”
On graph sheets
Sudharani follows the Martha Graham (she learnt Graham’s style of modern dance in the U.S) technique of putting every detail of a production on graph sheets.
“After all choreography is creating graphic designs on stage through visually appealing placement of actors/dancers or making beautiful designs with the human body,” says senior dancer-teacher V.P. Dhananjayan, who has many choreographic works to his credit.
“Though a part of Rukmini Devi’s group productions since 1953, we were not aware of this term nor did she credit herself to be a ‘choreographer.’ We were familiar with the word ‘composing’ or dance drama composition,” says Dhananjayan.
“I have no qualms whatsoever in saying that our generation of performing artistes have been trendsetters in providing graphic patterns to solo, duo and group pieces. We certainly have been more creative than our predecessors, while the present generation is more innovative than us.”
In the West, a choreographer is an important entity in a theatrical production. While only highly creative and experienced artistes are referred to as choreographers there, we have been carelessly attributing it to all and sundry, laments Dhananjayan.
“Most youngsters in the field are getting carried away by the term choreography because of its popular association with glamorous ramp shows and film numbers,” points out Anita. “They are in a hurry to do their own thing. One needs to master and practise the technique for a few years to understand spaces and energies before creating something. Guidance and support of seniors can help you realise and visualise many vital aspects. Choreography demands a lot of time. Some of my works have taken me almost a year.”
Adds Dhananjayan, “Choreography is not just arranging a few adavus and movements differently for a song. It should be a judicious mix of lakshana (grammar and technique), lakshya (technique sans textual rigidity) and swaanubhava (self-experience).
Says Sudharani, “With each production you evolve and learn to better your work. You should be convinced about what you are doing before seeking audience acceptance.”
“It is not easy to come out of the pure classical mould and attempt something with a contemporary appeal. I have faced immense criticism and opposition. But I strongly believe that one shouldn’t give up one’s artistic urges influenced by a few opinions. Of course, you cannot forget the audience. Continue the creative journey; they will surely join you sometime,” smiles Anita.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
