Padma subramanyam recently performed in Mysore. Her interview appears in the Star of Mysore.
LANGUAGE OF LYRIC IS NO BARRIER FOR BHARATANATYAM
INTERVIEW
Acclaimed in India and world over as an artiste of rare calibre, Bharatanatyam exponent of nearly half century standing, Dr. Padma Subrahmanyam was in Mysore for two days on Apr. 11 and 12 to receive the Life-Time Achievement Award of Bhramara Trust of Y.T.& Madhuri Thathachari, present a programme of classical dance called Purandara Smarane in Jaganmohan Palace auditorium and also deliver the Prof. C.D. Narasimhaiah Memorial lecture under the auspices of Dhvanyaloka Centre for Indian Studies Trust. Star of Mysore interviewed the artiste at Sally Sage McAlpin Auditorium on Dhvanyaloka campus, Bogadi. We publish here the text of the interview — Ed.
Star of Mysore (SOM): To progress is to change. Does this apply to classical arts including dance and music? If so, what change do you visualise? If not, why?
Dr. Padma Subrahmanyam (PS): Change can be in either direction. It can be for progress or for regress. As far as classical arts are concerned, I feel there is progress. It has been there definitely in the period since India's independence. It is borne out by the fact that we have discovered ourselves and we are still in the process of discovering ourselves. That is itself progress.
I only hope that this progress will be steady and rooted in our own Indian values. Progress does not mean that we lose our roots. If we don't lose our roots, any small change is not going to hamper our basic values. We have been learning throughout history to live in time and in timelessness.
SOM: Do forms of classical dances such as Bharatanatyam, Mohini Aattam, Kuchipudi, Kathak, Odissi have limitations of language for their lyrics? For instance, can Bharatanatyam be performed with Urdu lyrics?
PS: I have performed my style of Bharatanatyam with lyrics in the Russian language. Presenting Bharatanatyam with lyrics in Urdu is not a big problem at all. If I can perform to songs in Japanese and Russian languages, why shouldn't I perform to Urdu lyrics? I was also the first to even dance in Bharatanatyam to Meerabhajans, which I set to suit the grammar of South Indian Pada Varnam.
When I did this in early 70s, I was criticised by a small pocket of critics. I have never had a language barrier for the lyrics of my dance. I am so passionate about literature. I did Raamaaya Thubhyam Namaha, a compilation from five different authors of Ramaayana in five different languages — Kamba Raamayanam in Tamil, Thulasi Raamaay-anam in Brijbhaasha and others.
However, there is advantage in dancing to the lyrics of an Indian language. These languages have moorings in our own culture. Literature mirrors the culture of the land. Certain concepts are specific to that land with its own literature and may not give full scope to be rendered into the language of another land.
SOM: Much like watches, why do critics have to disagree in the art reviews?
PS: There can be people among critics of different forms of art such as music and dance who can agree on the quality and merit of the arts. Ultimately, it boils down to the taste of the critic. But basically, two critics cannot disagree on whether a singer was singing in proper sur, proper taala or not. There can be differences in the moods of the critics at that time of a performance.
SOM: Can quality of art forms be objectively judged, say electronically using measurable parameters? Are there such parameters
PS: It is possible to rate or judge the quality of a perfor-mance objectively. I think it is already there. The parameters cannot be measured. One critic may look for the technique, another may look for complicated rhythmic patterns, yet another may look for emotional rendering. I am not sure if these parameters are clearly defined anywhere.
For instance when MS sang even one note, say Gaandhaara, her voice was marked by something which was absolutely spiritual. That is because of her own inner experience (anubhava). Ultimately rasa depends on that anubhava of the artiste. Further, if I enjoy my performan-ce, that enjoyment is carried to the audience.
It is one's mental involvement which makes music soulful. Also, what is important is what the critic wants from a performance. It is not proper to say that 'this is right' or 'that is wrong' in art.
SOM: Is the classical dance form threatened by modernity? Is art on the wane? If so why? If not how?
PS: Modernity is too vast a concept. Understanding modernity as everything 'western' is unfortunate. Can't we be Indian and modern? One does not have to ape the west to be modern. Some tend to do that in the name of creativity. I have observed in some South-East Asian countries, for instance in Indonesia, where their presentation of Ramayana on stage was absolutely modern. About 150 artistes, all Muslims performing on stage with the lighting absolutely modern and perfect sound system was breathtaking. The content was fully traditional.
In Indonesia, there is a performance based on our epic every night. The beauty of their presentation lies in the blend of both tradition and modern. Modern conveniences such as airconditioned auditorium, sound system, lighting, costumes can be availed of without affecting the basic aesthetic values of traditional arts. We need not feel shameful to stick to tradition. Self-esteem about our culture and tradition is what we should safeguard. Others will copy us.
— BRS
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Language of Lyric is No barrier for Bharatanatyam- Padma Sub
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srinandini
- Posts: 60
- Joined: 03 Apr 2007, 05:05
its true what she says......dance is an expressive medium...it transcends language barriers...
i remember when we were in serbia for a dance tour..... one of the organisers wanted us to interpret through dance a poem she had written in serbian about a mother and daughter relationship.
she just explained the theme to us... and we were able to perform it with so much ease..... and the audience later appreciated us as to how easily they were able to relate the dance and the poem....universally emotions are the same.....and thats why no matter what language. or culture or background.. people can identify with each other across the globe....
i remember when we were in serbia for a dance tour..... one of the organisers wanted us to interpret through dance a poem she had written in serbian about a mother and daughter relationship.
she just explained the theme to us... and we were able to perform it with so much ease..... and the audience later appreciated us as to how easily they were able to relate the dance and the poem....universally emotions are the same.....and thats why no matter what language. or culture or background.. people can identify with each other across the globe....