The art of the soloist is giving way to variety – and safety – in numbers. That, says Ashish Mohan Khokar, dance historian and editor of a yearbook on Indian dance titled Attendance, is the biggest change in Indian dance.
“Earlier artists had the training capacity and foundation to present dance for an hour or two on the stage," Khokar said, as artists prepared to celebrated World Dance Day on Tuesday. "Now most don’t have the training, or time or foundation and even the audience doesn’t have the patience to see the same artist for an hour or two.”
He also notes another change. Dancers across schools and traditions are increasingly concerned with contemporary themes like the environment, the role of women in society an urban living, which they are now exploring with the help of technology – lights, screens, lasers and digital art.
"A lot of people are taking old or mythological stories and making it into contemporary stories," said Ananda Shankar Jayant, a leading Bharatanatyam exponent and teacher. Jayant own production What About Me? in 1999 compared Sita's burning with dowry deaths and Draupadi's disrobing with sexual violence in present times.
Finally, dance styles themselves are being revised. “There are some things that are more western in terms of stylisation and body language or breaks in body movements,” Khokar said.
Nritarutya, Bangalore
Even practitioners of classical dance forms like Kathak dancer and choreographer Aditi Mangaldas and Odissi dancer and choreographer Madhulita Mohapatra explore contemporary themes on their traditional platforms. "Dance like Odissi is very vast and you can explore any theme but still be within the classical tradition," said Mohapatra. "I perform one dance on the super cyclone that hit Orissa. I am a purist and I like to do anything new within the Odissi tradition."
Said Jayant: "The emotional content is the same, because it is about human experience but how you bring the story out is different. The traditional core continues but the grammar of dance is also expanding."
We welcome your comments at
letters@scroll.in.
“Earlier artists had the training capacity and foundation to present dance for an hour or two on the stage," Khokar said, as artists prepared to celebrated World Dance Day on Tuesday. "Now most don’t have the training, or time or foundation and even the audience doesn’t have the patience to see the same artist for an hour or two.”
He also notes another change. Dancers across schools and traditions are increasingly concerned with contemporary themes like the environment, the role of women in society an urban living, which they are now exploring with the help of technology – lights, screens, lasers and digital art.
"A lot of people are taking old or mythological stories and making it into contemporary stories," said Ananda Shankar Jayant, a leading Bharatanatyam exponent and teacher. Jayant own production What About Me? in 1999 compared Sita's burning with dowry deaths and Draupadi's disrobing with sexual violence in present times.
Finally, dance styles themselves are being revised. “There are some things that are more western in terms of stylisation and body language or breaks in body movements,” Khokar said.
The Gati Forum, Delhi
The Yellow Line Project, named after the first Delhi metro route, is a reminder of how people live and commute, collide and interact.
Nritarutya, Bangalore
Kaali is a homage to the presiding deity of the Mysore rulers.
Attakkalari Centre for Movement Arts, Bangalore
Mei Dhwani uses sound, light and colour to convey the Indian urban experience through dance.
Aditi Mangaldas Dance Company, New Delhi
Even practitioners of classical dance forms like Kathak dancer and choreographer Aditi Mangaldas and Odissi dancer and choreographer Madhulita Mohapatra explore contemporary themes on their traditional platforms. "Dance like Odissi is very vast and you can explore any theme but still be within the classical tradition," said Mohapatra. "I perform one dance on the super cyclone that hit Orissa. I am a purist and I like to do anything new within the Odissi tradition."
Said Jayant: "The emotional content is the same, because it is about human experience but how you bring the story out is different. The traditional core continues but the grammar of dance is also expanding."
