Traditional art is as diverse as it is niche. In Singapore alone, traditional arts preserve cultural artistic expressions of society and give rise to about 1,400 activities and performances each year.
Even with their significance and weight in building the artistic foundations of societies, the unassuming might only consider traditional arts in the context of cultural preservation. Frozen in time, and unrelatable to the current issues of the world.
This notion however, could not be further from the truth. Traditional arts have evolved to become as soulful a medium of expression as any other art form we experience today. Established artists in the field have respected the richness of its cultural aesthetic, while bringing relevant and fresh interpretations to evergreen compositions of the past.
One such eminent artist bringing this to life is Dr Janaki Rangarajan, an established Bharatanatyam dancer who beautifully brings poignancy and relatability to her work with poise and gregarious technique. Dr Rangarajan spoke to The Introspective about her perspectives on exploring the language of Bharatanatyam, and using it purposefully as a means of artistic expression.
Source: http://www.janakirangarajan.com
Finding One's Own Voice In Traditionally
Bharatanatyam as a dance form originated in scriptures dated centuries ago. The Natya Sastra penned by Sage Bharata Muni and considered the fifth Veda of Hindu scripture, outlined in great detail the decorum and philosophy of this expansive dance. Devadasis, or women who had dedicated their lives to serve at temple grounds performed the first forms of this art in temple processions. After bans imposed on Bharatanatyam during colonial times, Bharatanatyam revived as a cultural form in the early 20th century, and has since become an industry, performed by thousands of professional dancers today.
Even with the backdrop of its rich history, Bharatanatyam has evolved from a representation of tradition and culture, to a language in its own right. Bharatanatyam dancers, like Dr Rangarajan use the medium as a means of artistic expression. In fact, the historic texts and compositions are used to portray fundamental human emotions we all experience today. “When I choreograph a traditional piece, I don’t move away from what the poet has written” says Dr Rangarajan. “I don’t want to interject with my voice, but at the same time interpret it from my own angle. The balance is in finding my unique voice while preserving the poet’s intent.”
The inspiration of bringing traditional compositions to life, is driven by the context of the present, rather than the past. As Dr Rangarajan describes, “my art has been dictated by what goes around me. The book, scripture, the line or perspective has to move me….that’s what I’m trying to bring into my art, and in exploring what the language of Bharatanatyam means to me.”
Conversing Through A Universal Vocabulary
As in any other performing art form, Bharatanatyam dancers use technique as their vocabulary, and the stage as their platform to communicate their unique perspectives to the audience. In reflecting on her time on stage, Dr Rangarajan expresses: “For me, it’s less of a performance and more of a conversation… I just have to make sure my vocabulary is very strong in terms of my technique, so that my content comes across very clearly. If I can clearly communicate my intention, my job is done. It is then the audience’s job to take it, agree or disagree, ask questions and the like.”
The relatability of Bharatanatyam conversations, also come from the universality of the themes brought out through the dance. The richness of its traditionality brings with it a plethora of symbolism that is used to connect with the audience, beyond just the spoken word. Deities of Hindu mythology that are often portrayed in Bharatanatyam repertoire are not just taken for their literal context, but rather the symbol they represent. Goddess Shakthi for instance may be referenced to portray the strength of womanhood, while Lord Rama may be depicted to represent virtue and duty.
In fact, Dr Rangarajan even exemplifies how evergreen traditional compositions actually have the power to depict stories and emotions of the present. A recent piece she choreographed, uses the famous composition ‘Chinunjiru kiliye’ of 19th century poet Bharatiyar, to portray the lament of a mother, losing her child during the current healthcare pandemic.
“It was looking at death and the lament of a mother” Dr Rangarajan describes. “Those are universal emotions. Human to human, regardless of the culture you are from.”
“The bottom line is, we are all playing on emotions. There is an emotion with which we are communicating our vocabulary, whether it is nritta (technical footwork) or otherwise. That emotion will transfer, if one is doing it correctly”.
The Artistic Responsibility Of Digging Deeper
The universality of emotional connection, built across all forms of artistic expression is clear – and traditional art forms are clearly no different. Nonetheless, the engagement with Bharatanatyam or any other traditional forms is still limited to a niche audience. Despite its relatability, the broader audience of art goers assume its cultural nuances and traditions make it irrelevant for them.
This, as Dr Rangarajan aptly points out, might be more to do with the inherent discomfort we as human beings have with venturing into the unfamiliar. Tackling this and enabling connections is as much the responsibility of the artist as it is the art-goer. The audience have to be willing to interpret beyond the literal context, and appreciate the symbolism of the language, while the technical prowess of the artist has to shine through for the significance of this symbolism to be clearly expressed.
“There is the fear of the unknown. When we don’t know about something, human nature tells us to shun it away. The dancer needs to be efficient in communicating it properly. When the dancer doesn’t show it properly, then you won’t give the audience anything to take away.”
This clarity of thought can only occur when the artists of this traditional form take the effort of understanding their foundations even further. “We’re in a unique place, and the onus is upon us as artists. The tradition is the foundation. Get educated on it, but with a deeper understanding. Beyond the literal meaning. Reading in between the lines…. it’s a way of life and you need to dig deeper into why things are done a certain way” says Dr Rangarajan.
Traditional forms do have a rich cultural aesthetic that we must preserve, however, as the conversation with Dr Janaki Rangarajan establishes, an open mind will discover the relevance of themes and expressions in the traditional arts in our current society. If responsibility is taken by the traditional artist to further explore the nuances of their craft, and by art-goers to move past their assumptions, the depth of introspection we can gain from this form, is clearly limitless.
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