music appreciation/skills in dance training
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rasikapriya21
- Posts: 136
- Joined: 02 May 2006, 00:27
The different banis within bharatanatyam seem to differ considerably in the way they incorporate music/nattuvangam theory in the dance training. Generally speaking I found tanjore and vazhuvoor styles to be more attentive towards the intricacies of rhythm and their application in dance choreography as compared to other styles where the visual aspect is perhaps a more dominant feature in the overall dance aesthetics. Here the very idea of “dance makingâ€
Last edited by rasikapriya21 on 13 Apr 2008, 10:53, edited 1 time in total.
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Umesh
- Posts: 361
- Joined: 04 Jun 2006, 12:59
Rasikapriya,
You are absolutely right that dance and music share an intimate connection, and that it is essential for a dancer to be competent in music (especially talam) as well as in dance. However, I don't know about dancers not taking up nattuvangam and music. Perhaps there could be more, but I have seen young people who are serious about the art form (even here in the U.S.) learn and perform nattuvangam. Though they may not be great mridangam vidwans, I can only imagine they must have a working knowledge of talam. Even more children study carnatic music alongside dance.
I also do not think we have to fear that choreography 20, 30 years from now will be sub par. An important thing to note is that the yesteryear (hereditary, isai vellalar) gurus of dance were primarily musicians; they never performed dance. Gurus since have not been like that. Prominent dancers and gurus have always looked to percussion masters for their musical needs. At her Music Academy lec-dem this past January, Smt Leela Samson demonstrated theermanam gems choreographed by Sri Karaikudi Krishnamoorthy and acknowledged his invaluable contribution to dancers. Malavika Sarukkai often performs to the choreography of MS Sukhi as he accompanies her. Alarmel Valli dances to music composed by her vocalist, Prema Ramamoorthy. Sudharani Raghupathy has a boon in her son, Aniruddha, who has come out with a cd containing several new jathi patterns for dance. The Late Madurai N. Krishnan was the musical genius behind many of her pieces. This is not say these dancers don't know anything about music, but they do have their go-to person(s) when they are creating one of their masterpieces.
Dancers should be well-versed in music, yes, even if it is for the mere fact that one cannot express anything if one does not have a true understanding of the music. However, dancers have and will always seek out the assistance of musicians, and as long as these vidwans are thriving, dance choreography will too! Or perhaps I'm being too simplistic (and optimistic) in my thinking
. Thoughts?
You are absolutely right that dance and music share an intimate connection, and that it is essential for a dancer to be competent in music (especially talam) as well as in dance. However, I don't know about dancers not taking up nattuvangam and music. Perhaps there could be more, but I have seen young people who are serious about the art form (even here in the U.S.) learn and perform nattuvangam. Though they may not be great mridangam vidwans, I can only imagine they must have a working knowledge of talam. Even more children study carnatic music alongside dance.
I also do not think we have to fear that choreography 20, 30 years from now will be sub par. An important thing to note is that the yesteryear (hereditary, isai vellalar) gurus of dance were primarily musicians; they never performed dance. Gurus since have not been like that. Prominent dancers and gurus have always looked to percussion masters for their musical needs. At her Music Academy lec-dem this past January, Smt Leela Samson demonstrated theermanam gems choreographed by Sri Karaikudi Krishnamoorthy and acknowledged his invaluable contribution to dancers. Malavika Sarukkai often performs to the choreography of MS Sukhi as he accompanies her. Alarmel Valli dances to music composed by her vocalist, Prema Ramamoorthy. Sudharani Raghupathy has a boon in her son, Aniruddha, who has come out with a cd containing several new jathi patterns for dance. The Late Madurai N. Krishnan was the musical genius behind many of her pieces. This is not say these dancers don't know anything about music, but they do have their go-to person(s) when they are creating one of their masterpieces.
Dancers should be well-versed in music, yes, even if it is for the mere fact that one cannot express anything if one does not have a true understanding of the music. However, dancers have and will always seek out the assistance of musicians, and as long as these vidwans are thriving, dance choreography will too! Or perhaps I'm being too simplistic (and optimistic) in my thinking
. Thoughts?-
rasikapriya21
- Posts: 136
- Joined: 02 May 2006, 00:27
Umesh,
perhaps I should have clarified that I was specifically referring to music appreciation & dance training
in the western contex. I was not disputing the need to seek out the assistance of vidwans when creating new choreography. Even in the world of western ballet, where the connection between music and dance is less apparent then in India, such collaborations have been essential to the shaping of different dance styles and repertoires. One can just think of Stravinskji’s input in the artistic creations of Diaghilev’s Russian Ballets. The notable cases you mention are indeed examples of outstanding artistic collaborations.
However I do find that in the context of bharatanatyam as practiced abroad such collaborations are significantly rarer. Perhaps I have been too simplistic – if not unfair - in putting this down to the dancers’ reluctance to learn music and nattuvangam. There are other factors which possibly concur to maintain the current trend. Firstly, the number of professional musicians willing to share their expertise with dancers is somewhat inadequate to match the demands of so many talented dance performers. The need for musicians to establish themselves mainly as interpreters among the western audiences means that they are more likely to develop material for their music concertos, where their interpretative skills can really shine. Dancers, on the other hand, are thrust into opting to perform with recorded music to cut down on the budget; which seems rather acceptable in a context where, unlike in India, dance audiences are accustomed to dance performances without live music accompaniment. Secondly, the various bharatanatyam curricula available in the west seem to put more emphasis on dance technique and body conditioning then on music, as this better conforms to the syllabi of other dance styles taught. It would be interesting to know to what extent music is included in the bharatanatyam curriculum in India. But it seems to me that dance gurus over there do generally expect a higher level of musical understanding from their shishyas.
rasikapriya
perhaps I should have clarified that I was specifically referring to music appreciation & dance training
in the western contex. I was not disputing the need to seek out the assistance of vidwans when creating new choreography. Even in the world of western ballet, where the connection between music and dance is less apparent then in India, such collaborations have been essential to the shaping of different dance styles and repertoires. One can just think of Stravinskji’s input in the artistic creations of Diaghilev’s Russian Ballets. The notable cases you mention are indeed examples of outstanding artistic collaborations.
However I do find that in the context of bharatanatyam as practiced abroad such collaborations are significantly rarer. Perhaps I have been too simplistic – if not unfair - in putting this down to the dancers’ reluctance to learn music and nattuvangam. There are other factors which possibly concur to maintain the current trend. Firstly, the number of professional musicians willing to share their expertise with dancers is somewhat inadequate to match the demands of so many talented dance performers. The need for musicians to establish themselves mainly as interpreters among the western audiences means that they are more likely to develop material for their music concertos, where their interpretative skills can really shine. Dancers, on the other hand, are thrust into opting to perform with recorded music to cut down on the budget; which seems rather acceptable in a context where, unlike in India, dance audiences are accustomed to dance performances without live music accompaniment. Secondly, the various bharatanatyam curricula available in the west seem to put more emphasis on dance technique and body conditioning then on music, as this better conforms to the syllabi of other dance styles taught. It would be interesting to know to what extent music is included in the bharatanatyam curriculum in India. But it seems to me that dance gurus over there do generally expect a higher level of musical understanding from their shishyas.
rasikapriya
