| Post Your Message |
|
| |
Interview
Notes
Vanashree and Jayarama Rao
Koochipoodi is the classical dance form from the Southeast Indian state of Andhra Pradesh. It derives its name from the village of Kuchelapuram, a small village about 65 kms from Vijaywada. It is known for its graceful movements and its strong narrative / dramatic character
History
Many legends exist about the origin of the Bhagavata Mela Natakam of Andhra.
In the 14th Century, the southern parts of India were ruled by a succession of dynasties committed to the propagation of art and literature. The rulers not only gave land and money to gurus and performers, but also paid for the upkeep of several hundred temple dancers, the Rajanartakis and Devadasis...
It is said that there was once an orphan of Srikakulam who was raised by the village. However, for his training he went to Udipi for Vedic studies. During his study he acquired the name Sidhendra Yogi.
He decided to come back to his wife and as he was swimming across the river he suddenly realised that he could swim no further. He then prayed to God to give him the strength to make it across. He did make it, and upon reaching the shore he vowed to become a sanyasi (renunciate) and devote his life to religious affairs.
He then settled in the village of Kuchelapuram and started teaching. Here, he instructed Brahmin boys in devotional dance dramas based upon religious themes. It was here that Siddhendra Yogi first developed a unique and particular style based on the Natya Shastra and Nandikeshwar's Bharatarnava...
While its close cousin, Bharatanatyam achieved recognition and international fame, Koochipoodi was lagging behind and was confined to its village setting. In the forties, a few teachers ventured into big cities like Madras and Hyderabad, and started training female students as well as directing dance sequences for the cinema. New dance pieces were added to the existing repertoire and soon Kuchipudi gained popularity.
Technique
Like Bharatanatyam it also comprises of Abhinaya, Nritta and Nritya. Kuchipudi art, to be noted was intended as a dance drama requiring a set of character, never as a mere dance by a soloist which is common in present times. This dance drama is sometimes known as Ata Bhagavatham. The plays are in Telugu and traditionally men take all roles alone.
Music
Kuchipudi music is based on the Carnatic system of Indian music and the orchestra consists of the Nattuvanar (conductor) with his hand-held cymbals, the vocalist, Mridangam (drum), violin, flute and Veena (a stringed instrument).
Interviews
Interview with Vanashree and Jayarama Rao Interview with Swapna Sundari
Interview with Vanashree and Jayarama Rao by Shreya Kumar
Vanashree and Jayarama Rao
Dance style: Kuchipudi
Gurus: Jayarama Rao was trained in the traditional guru-shihya parampara at the Sidhendra Kalakshetram, Kuchipudi Village, under Gurus Shri Chinta Krishnamurti, Shri PVGK Sharma and Dr. Vempati Chinna Satyam
Vanashree Rao was initially trained under guru Krishna Kumar and later continued under Shri Jayarama Rao. Later underwent training under guru Vempati Chinna Satyam and Dr. Nataraja Ramakrishna.
About Kuchipudi
Kuchipudi has come from the Bhagawat Mela tradition of Andhra Pradesh. It is basically from the Andhra culture so naturally it has a dance drama tradition, where thirty forty people enact a play it also consist of duet which is what we are doing, then there is solo and there is female impersonation that is male doing female.
The history of Kuchipudi is very vast, first the Vaishnavite philosophy then the Nawab influence to form Court dance, basically there are three influences, one, the temple dancer of Andhra, two, the court dancers, three, the Bhagwat Mela, What we do is the best of all three.
Difference from other styles
There are many differences. Firstly all dance forms follow the Natya Shastras as a base but the technique and style becomes different because of being in different regions.
Bharatanatyam is performed solo originated in Tamil Nadu which has a distinct culture and it had the Devadasi tradition, hence originated amongst female performers whereas Kuchipudi is originated from the male dancers, who were devotees of Lord Vishnu, that is the Vaishnavite movement
· In dance drama females performed female roles and males performed male, whereas in Kathakali men would dress up and perform all the roles and their costumes and the aharyam are much more elaborate.
Q How did dancing together begin ??
My first Guru Krishna Kumar told me if I wanted to learn genuine Kuchipudi I should learn it from him (Jayarama Rao) as he was the first person who came from Kuchipudi Village to Delhi. At that time he had Meenakshi Sheshadhari as his student. After the first year itself, though my style was a little different, we started doing some compositions together. He was initially just a guru and not a performer but I convinced him to start performing. Those days marriage was totally not in the scene. Then we started performing often and started getting a good response. We were offered a tour abroad by ICCR, and that is when he asked for my hand as he had a conservative nature and also he felt I am very much passionate and committed to dance. After that everything else fell into place. We became a very good team, I managed the administrative aspect and I was also learning from him, we were very good friends. You could say we both brought out the best in each other!
Q Format or repertoire
Kuchipudi is very interesting. In Bharatanatyam and Odissi there is a very definite format like one starts with the Mangalacharan and then go to Pallavi then Abhinaya, in Bharatanatyam you have to do Varnam and the Tillana and Moksha are the end items, ours in that way is very flexible, we can do excerpts from Ballets or we can do a dramatic enactment of a scene taken from any book or we can do Keertanams or Ashtapatis. We don't have a compulsion that we have to start with Alarippu (in Bharatanatyam). Basic repertoire could be as follows:
1.Invocatory item - it can be on Shiva or Vishnu or a Goddess
2.Jatiswaram or Dashavatar - Technique
3.Bhama Kalapam - Tells the story of Satya Bhama, Rukmini and Vishnu. It is the most famous dance drama; It is a must for the beginners.
4.Tarangam
5.Padam
6.Javali
Jayarama Rao adds - Kuchipudi dancers use to perform and even now a solo repertoire having Shabdams. These were performed in front of kings and they wrote these items themselves.
Q How rewarding is this profession.
For us because we are established, we get recognition for the young artists I feel it is very tough because there is not much money in the arts. Also dance, we feel cannot be a hobby. It has to be a profession. If compared to sports for instance, one tournament won can make your life, but in dance you give thousands of performances and then you get rewarded.
Its true all other professions are paid more than dance, even musicians are paid more however we are very content and happy about our profession. Its sad but only dancers are asked to compromise on the amount charged, no other artist is. As the competition is so high and the sponsorship is less.
Q About audiences.
It has not increased or decreased there is a set of people who come for all the performances.
Q Advise for young dancers
You have to listen to your heart; if you feel you are committed enough you must enter the profession. You must not think that just because its not paying you mustn't get into it. Also youngsters these days are very smart, if you can you must go and demand performances in the corporate sector. Opportunities are there you just have to explore them.
The Duo has received the 'Padmashri' from the President of India, Govt. of India in th year 2004, and also the Sangeet Natak Akademi Award - Govt. of India in the year 1998
For further details they can be contacted at
99, Baktawar Singh Block, Asiad Village Complex
New Delhi 110 049
Tel: (011)-26492244
Classes for juniors are conducted at
Matri Kala Mandir
Mothers' international school
Aurobindo Marg, New Delhi
E-Mail: vanashreerao@yahoo.com
Website:http://artindia.net/raos
Interview with Swapna Sundari by Shreya Kumar
Dance style: Koochipoodi, Vilasini Natyam and Bharatanatyam.
Gurus: Guru Pasumarthy Seetharamiah Yeleswarapu Surya Prakasa Sarma and Vempati Chinna Satyam. Bharatanatyam training was under Gurus K.Govindarajan, K.N.Dakshinamoorthy, B.Kalyana Sundaram Pillai and Adyar.K.Laxman. Abhinaya from Padma Bhushan Kalanidhi Narayanan. She also received intensive training in the dance techniques and unique Abhinaya system directly from Andhra Devadasis, notably Smt. Maddula Laxmi Narayana and several others. Is currently involved in the propagation of this style, now known as Vilasini Natyam.
Brief us about Kuchipudi
The correct pronunciation of this word is with a long vowel for the letter 'u' both the times that it is used. Having failed to make people pronounce it this way in spite of my best efforts over two and a half decades, I have resorted to spelling it as Koochipoodi, which leaves people with no alternative but to pronounce it correctly! This move has been formalized further as the title of my book - The World of Koochipoodi Dance. I intend to change the spelling of the name of my dance institution accordingly.
About Kuchipudi
Koochipoodi is a classical dance from the southern Indian state of Andhra Pradesh. It has its origins as a dance-operatic form, called the yakshagana, in which dance troupes would travel from village to village rendering legends and episodes from Hindu mythology through dance, music and dialogue. The tradition evolved as part of the Bhakti movement, which popularised the worship of Krishna. These operas would be performed through the night; and each opera could last several nights. One of Koochipoodi's distinguishing characteristics was that the dance troupes consisted only of Brahmin men, with an extremely well developed art of female impersonation
Legend attributes the creation of this dance form to Siddhendra Yogi, an ascetic who probably lived in the 17th century although his dates are not clearly established in written history. The legend similarly states that in a local Muslim King, Abdul Hasan Tani Shah gifted a village known as Koochipoodi to a band of itinerant performers. It is this name that the present dance form has adopted.
Over the years, the dance form has undergone many changes. By the early 20th century, a solo repertoire, drawing on many of the components of the dance operatic tradition, began to be developed. By the 1930's, women began to participate as well, especially in solo performances. And as Koochipoodi's appeal extended beyond the geographical and linguistic boundaries of its home in Andhra Pradesh, the music and dialogue components were sacrificed in favour of the dance technique to make it accessible to a wider range of audiences. Today, Koochipoodi schools can be found in every state in India, as well as in many countries outside India.
Q Koochipoodi was not accepted as a form for a very long time, was always sidelined by Bharatanatyam. Comment.
Most dance forms, which are recognized as 'classical' today, are derived out of older sources. Of these, Bharatanatyam, Kathakali and Manipuri gained from the efforts of the early dance revivalists around the 1950's.Similar forms such as Odissi and Koochipoodi did not receive the same degree of attention at that time. This may have occurred because of neglect. It may also be a reflection of the regional affiliations of experts and advisors who served on important committees which were vested with the responsibility of identifying existing dance traditions and projecting these as 'classical' forms on national and international fora.
As a result, the Telugu people had to struggle long and hard to obtain an 'official' status for one of their dance forms, i.e. Koochipoodi.
The other important traditional dance form of the Telugus that of the consecrated female temple dancers and female court dancers, is yet to receive its due recognition from the official machinery dealing with the arts. It is anybody's guess how long this might take. For my part, for the past ten years, I have been popularizing this form by performing and propagating this dance as Vilasini Natyam, teaching and producing students proficient in this form.
Q How important a role does research work play in dance ??
Research assumes varied significance depending upon the stage of development the dancer has reached. Normally, one would expect that an experienced dancer would not continue merely as a seasoned performer but would add meaningful dimension to his/her work, which would reflect artistic and intellectual growth. However, not every dancer is temperamentally inclined to take this approach. This is the reason why there are very few veteran dancers who have done serious research work.
I prefer my disciples to develop an analytical approach to whatever they learn from me. By understanding all aspects of their dance, they would add depth to their work. This approach would also enhance the value to their visual presentations.
Q Role of Government patronage? Do you think dance is getting politicised ??
If and when dance and music become self-sustaining and are able to survive in an economy of profit and loss just like all other marketable activities like sports etc, then we can discuss this question in retrospect. Until that happens, the existing situation is likely to continue.
Q Audiences for classical dance have increased/decreased. Comment.
In a way, this is related to my reply to the previous question. I would say, today there is greater curiosity but this does not necessarily translate into audience numbers.
Q Future of dance, in particular Koochipoodi.
In reply to this, I am quoting from my book "The World of Koochipoodi dance".
Q Youth and the future of Koochipoodi
Today, Koochipoodi is an acknowledged 'classical dance form'. The collective efforts made by the Gurus, exponents and scholars to bring to it this recognition have been supplemented by those of the official establishments dealing with culture. This synergy is the biggest factor, which has contributed to its success story.
The question that now arises is whether similar synergies can be obtained for meeting new challenges that Koochipoodi and other traditional dance forms face today. These challenges pose a serious threat to the very survival of traditional performing arts.
India's economic development is manifesting itself in many ways. Today, the country is perceived as a major economic power of South Asia. The societies of economically developed countries across the world have created provisions for defining themselves culturally. It is an irony that in India today, traditional dance is seen less and less in the concert format or in full-length programmes on the stage. Even on television, traditional performing arts are hardly seen.
Meanwhile, Koochipoodi like other classical dance forms is seeking renewed vitality in the context of a changed society. Traditional dancers are naturally seeking methods for harmonizing the energies of their art with those outside.
Conservative sections of audience reject the attempts made by traditional dancers to evolve commercially viable formulae for sustenance. On the other hand, there are many who argue that tradition survives by adaptation and therefore it cannot be viewed as a point of finality. Practitioners of classical dance are caught in the cross fire of this debate.
It would be important for Koochipoodi exponents and its future aspirants to find meaningful performance space in this scenario. It will be interesting to see how the official support systems for traditional arts propose to meet new demands.
For Koochipoodi dance to overcome fresh challenges and develop in even more exciting ways, much will depend upon all these factors. A lot will also rest upon the motivation of youngsters to persist with their efforts to carve careers in classical dance.
If future generations of Koochipoodi dancers can, with intelligent and sensitive application of their art, meet the demands continuously thrown up by changing societal factors, they would be able to keep alive forever the richness of Koochipoodi tradition.
Q What qualities do your students need to have to be a good Koochipoodi dancer according to you ??
Qualities such as capacity for hard work, sense of commitment, regard for tradition as well as enthusiasm and willingness to add extensions to tradition must exist in or be developed by any individual who wishes to pursue dancing as a lifetime vocation.
Certain other list of requirements for an ideal dancer are mentioned in the dance texts such as Natya Shastra and Abhinaya Darpana and these have been quoted ad nauseum. However, these need to be interpreted in the present day context.
Q Any suggestions you would like to give as to how to take it up as a career. Dos n don'ts or advise for young artists ??
Carving a career in the performing arts is an exciting but arduous task. Don't give up your main goal .At the same time; acquire additional qualifications which would be necessary for supporting yourself. Do not set a time frame for success as a performing artist as there is no easy formula for it. Be patient and realistic in your expectations. Respect your seniors and your contemporaries. Be helpful to those who are junior to you. Importantly, don't throw attitude or it'll bounce back in your face! Above all, enjoy what you are doing...
Swapna Sundari is the director of her institute Kuchipudi Dance theatre. She has been the youngest dancer to have been awarded with the prestigious 'Padma Bhushan' title.
Contact:
Kuchipudi Dance Theatre
D1/93 Satya Marg, Chanakya Puri
Phone: (011) 24670442 / 26889166
Email: kuchipudi@vsnl.net
| |
|
