Finzi Trust Report: Studying Carnatic Flute and ... · Carnatic tradition shares much in terms of...
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Kate Wakeling Finzi Trust Report: Studying Carnatic Flute and Bharatanatyam Dance in Chennai Having spent the past four years grappling with a PhD on Balinese gamelan music, and having heard about the opportunity offered by the Finzi Trust to explore a different avenue in music, I was hungry to try something new. I wanted to study something that had some connection with my Indonesian studies but which also charged off in a new direction. More importantly, I wanted to learn something for its own sake and for a practical purpose: music and movement that I would study to perform and teach, and not to write about. An encounter with a Bharatanatyam dancer and accompanying Carnatic music ensemble at an Indian Cultural event at Asia House in London introduced me to the warm and vital music and movement of South India, and my course was set. A note on Carnatic music and Bharatanatyam dance Carnatic music, commonly associated with the South of India, is said to be some of the oldest music of the Subcontinent. It is usually played by small groups of musicians, customarily featuring a mridangam (two‐headed drum), a tambura (a strummed string instrument that produces a drone) plus a combination of a singer, violin (played sitting down and with the scroll or tip of the violin resting on the floor), wooden flute (venu), veena (a large, plucked instrument lain horizontally on the floor) and ghatam (an earthenware water pot, struck to produce a range of sounds). While distinct in many ways from North Indian (or Hindustani) classical music, the Carnatic tradition shares much in terms of the melodic system of raga (collections of tones with prescribed internal relationships) and of tala (metric arrangement). However, particular to Carnatic music is the emphasis on vocal music, where every melodic instrument (be it flute, violin or veena) aims to re‐recreate the expression of the human voice, a style known as gayaki. The Carnatic flute (or venu) is a transverse flute made of bamboo and played by blowing across a hole at the instrument’s end and covering various combinations of the flute’s eight carved holes with the fingers. The flute is a flexible and expressive member of the Carnatic ensemble, allowing the production of different tone qualities and varying articulation, as well as slides and ornamentation between tones. It is sometimes performed as the principal melodic instrument of the Carnatic ensemble, with the player leading the group in tempo and musical structure through improvisation. Alternatively, the flute supports a vocalist, interchanging passages of melodic improvisation and imitation with the singer. Bharatanatyam is a genre of temple dance which originates from Tamil Nadu, an Eastern province of South India. It is said to be very old, one of the oldest of Indian performance genres and many claim its origins to be in the stone carvings lining the walls of the ancient temple of Chidambaram. Various revisionist accounts have suggested that Bharatanatyam as a ‘classical’ form may not be so old as often held. Certainly, its popularity today is due principally to the Bharatanatyam ‘revival’ which took place in the 1930s, led by dancers E. Krisna and Ayer Rukmini Devi Arundale who raised (or created) the dance’s profile and developed the idea of the Bharatanatyam dance drama or ballet. Rukmini Devi Arundal also founded the now world‐famous dance school of Kalekshetra in Chennai. Whether ancient or more modern, Bharatanatyam is an extraordinary dance form full of grace and energy. It is comprised of a series of expressive hand gestures (hastas) which may serve narrative or descriptive functions, showing flowers, tears, insects or demons. Meanwhile, Bharatanatyam feet stamp, tap and flex in complex accord with the music’s rhythm 1
Transcript of Finzi Trust Report: Studying Carnatic Flute and ... · Carnatic tradition shares much in terms of...
KateWakeling
FinziTrustReport:StudyingCarnaticFluteandBharatanatyamDanceinChennai
HavingspentthepastfouryearsgrapplingwithaPhDonBalinesegamelanmusic,andhavingheardabouttheopportunityofferedbytheFinziTrusttoexploreadifferentavenueinmusic,Iwas hungrytotrysomethingnew.IwantedtostudysomethingthathadsomeconnectionwithmyIndonesianstudiesbutwhichalsochargedoffinanewdirection.Moreimportantly,Iwantedtolearnsomethingforitsownsakeandforapracticalpurpose:musicandmovementthatIwouldstudytoperformandteach,andnottowriteabout.AnencounterwithaBharatanatyamdancerandaccompanyingCarnaticmusicensembleatanIndianCulturaleventatAsiaHouseinLondonintroducedmetothewarmandvitalmusicandmovementofSouthIndia,andmycoursewasset.
AnoteonCarnaticmusicandBharatanatyamdance
Carnaticmusic,commonlyassociatedwiththeSouthofIndia,issaidtobesomeoftheoldestmusicoftheSubcontinent.Itisusuallyplayedbysmallgroupsofmusicians,customarilyfeaturingamridangam(two‐headeddrum),atambura(astrummedstringinstrumentthatproducesadrone)plusacombinationofasinger,violin(playedsittingdownandwiththescrollortipoftheviolinrestingonthefloor),woodenflute(venu),veena(alarge,pluckedinstrumentlainhorizontallyonthefloor)andghatam(anearthenwarewaterpot,strucktoproducearangeofsounds).WhiledistinctinmanywaysfromNorthIndian(orHindustani)classicalmusic,theCarnatictraditionsharesmuchintermsofthemelodicsystemofraga(collectionsoftoneswithprescribedinternalrelationships)andoftala(metricarrangement).However,particulartoCarnaticmusicistheemphasisonvocalmusic,whereeverymelodicinstrument(beitflute,violinorveena)aimstore‐recreatetheexpressionofthehumanvoice,astyleknownasgayaki.
TheCarnaticflute(orvenu)isatransverseflutemadeofbambooandplayedbyblowingacrossaholeattheinstrument’sendandcoveringvariouscombinationsoftheflute’seightcarvedholeswiththefingers.ThefluteisaflexibleandexpressivememberoftheCarnaticensemble,allowingtheproductionofdifferenttonequalitiesandvaryingarticulation,aswellasslidesandornamentationbetweentones.ItissometimesperformedastheprincipalmelodicinstrumentoftheCarnaticensemble,withtheplayerleadingthegroupintempoandmusicalstructurethroughimprovisation.Alternatively,theflutesupportsavocalist,interchangingpassagesofmelodicimprovisationandimitationwiththesinger.
BharatanatyamisagenreoftempledancewhichoriginatesfromTamilNadu,anEasternprovinceofSouthIndia.Itissaidtobeveryold,oneoftheoldestofIndianperformancegenresandmanyclaimitsoriginstobeinthestonecarvingsliningthewallsoftheancienttempleofChidambaram.VariousrevisionistaccountshavesuggestedthatBharatanatyamasa‘classical’formmaynotbesooldasoftenheld.Certainly,itspopularitytodayisdueprincipallytotheBharatanatyam‘revival’whichtookplaceinthe1930s,ledbydancersE.KrisnaandAyerRukminiDeviArundalewhoraised(orcreated)thedance’sprofileanddevelopedtheideaoftheBharatanatyamdancedramaorballet.RukminiDeviArundalalsofoundedthenowworld‐famousdanceschoolofKalekshetrainChennai.Whetherancientormoremodern,Bharatanatyamisanextraordinarydanceformfullofgraceandenergy.Itiscomprisedofaseriesofexpressivehandgestures(hastas)whichmayservenarrativeordescriptivefunctions,showingflowers,tears,insectsordemons.Meanwhile,Bharatanatyamfeetstamp,tapandflexincomplexaccordwiththemusic’srhythm
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accompanimentasbeatenoutonthedrumandrungonbrasscymbalsplayedbythedancer’steacher,whoalsocallsoutadistinctiveseriesofsung‐spokensyllableswithwhichthedancermustalign.
AnoteonChennai
Chennai(formerlyMadras)isthecapitalofthesoutheasternIndianstateofTamilNadu.Alarge,industrialcityofover4millionpeople,ChennaiisalsothecentreofCarnaticartsandtheregionboastsalonghistoryofperformers,composers,dancersandchoreographersbornthere.Thecityhashostedthefamous‘MusicSeason’eachDecember‐Januarysince1927.ThefestivalwasoriginallyheldtocelebratetheopeningoftheMadrasMusicAcademy,buttheSeasonnowstandsasashowcaseofCarnaticperformingartsingeneralanddrawsahugeinternationalfollowing.Thecityalsoboastsalargenumberofmusicanddanceschools(includingtheworldfamousKalekshetraschoolofdance,asmentionedabove)andisanideallocationtostudyCarnaticperformingarts.
FirstImpressions
IarrivedinChennaiinthemiddleofthenight.IwasscoopedupfromtheairportbyadriverfromthehotelwhereIwouldspendthefirstfewnights,anddrivenacrossthecity.Chennaiwasfarfromasleep.Trafficscreechedpastonthehighwayandstreetsellersstoodbytheirstalls,whilegroupsofmensatoutonthepavements,deepinconversation.Thenextmorning,followingbreakfastandahardlookatthemap,Isetouttoexplorethestreetsbeforeclassesbeganthenextday.Iwasstruckbythecityaslively,dusty,friendlyandentirelyunglamorous.Aplacelong‐boundtopracticesofartanddevotion,Chennai’scolourswereinitiallyconcealedbycongestedtrafficandfadedshoppingcentres.AsIgraduallydiscoveredfromthemanykindfriendswholatertookmeabout,andfrommyownstumblingadventuresthroughthecity,Chennai’scolouroftenliesbehindtalldustywalls‐intemples,homesandonhiddentheatrestages.
WhatIdiddiscoveronmyfirstday’swalkingwasfoodandmusic:bothofwhichwerecheap,wonderfulandinmagnificentabundance.Firstwaslunch.Chennaiisaculinarycentre.IsatdownintheSavanaBhavan,thecelebratedcanteenchainfoundalloverSouthIndiaandmadewhatlookedlikeareasonableorderofa‘standardsetmenu’.Twowomensittingoppositesmiledbrieflyatmychoice.Whatfollowedwasanextraordinaryburstofflavours,textures,temperaturesandcolours.Whilethetwowomenoppositemepickedelegantlyattheirsinglemasaladosa(athinricepancakestuffedwithvegetablecurry),Iwaspresentedwithovertwentydishesofpickles,saucesandcurries,someexplodingwithspice,somecoolandrefreshing,somesweet,somesharp.Thiswasaccompaniedbyheapsofriceandbreads,followedbyasubstantialdishoficecreamandabundleofpaan‐betelnutchew,famousforturningthechewers’teethbrightred.Havingonlybeenabletomakemywaythoughathirdofthedeliciousfoodinfrontofmebeforesurrendering,IwasgentlyadvisedmyfellowdinerstoorderontheconservativesideinChennai,unlessextravagantlyhungry.
Stillinaweatmylunch,IturnedoutofthecanteenandfoundmyselffacingChennai’sownMusicAcademy.IhadtimedmytriptocoincidewiththeannualChennai‘Season’ofMusicandDance,buthadbeenwarnedthatattendanceatperformanceswashighlysoughtafter,andticketscouldbescarceandexpensive.WanderingintothefoyerandaskingattheticketdeskIwasassuredthatnospacesremainedforanyoftheperformancesatthemainhalloverthenextfewdays.
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Disappointedbutresigned,IwanderedoutofthebuildingtolookroundtheAcademy’scomplex.Findingmywayintoanotherbuildingtoescapethesun,Iwasimmediatelyusheredintoanothersmallerconcerthallwhereaperformancewasinprogress,featuringasingerplusfullCarnaticensembleandapparentlyopentothepublic.Lookingatanoticepinnedtothehall,itappearedaseriesoffreeperformances,opentoall,weretorunthroughoutthenextfewweeksofthefestival,frommorningtoevening.Iwasabletospendtherestofafternoonwatchinganarrayofperformers,occasionallywanderingoutsideforteabeforeIwouldreturntoanotherhourofmusic.
IwasalsosubjecttoanotherpieceofserendipityattheMusicAcademy.IfoundmyselfsittingnexttoanIndiangentlemanwhohadlivedinAmericaforthelastfortyyearsandwhowasdelightedtohaveachancetoexplainmoreabouttheperformancetothewide‐eyedaliensittingnexttohim.Nowretiredasanastrophysicist,havingworkedformanyyearsattheLasAlamosNationalLaboratory,DrV.K.Viswanathan(orVKVashewasknown)turnedouttobeanextraordinarypatronoftheIndianarts‐particularlymusic‐andwasacquaintedwithallofChennai’sfinestartists.VKVwascloselyassociatedwiththeClevelandThyagarajaAradhana(ahugefestivalofIndianperformancewhichtakesplacesannuallyinOhio)andreturnedtohishometowninTamilNadumostyearstoenjoytheChennaifestivalandtoliaisewithIndianartistswhomayperformatCleveland.Westruckupafriendshipandfromthatday,VKVintroducedmetodozensofmusicians anddancers,foundmeinvitationstoattendperformancesandchaperonedmyattendanceateveningaftereveningofmusicanddance.WithanenthusiasmtoshowmewhatChennaihadtoofferthatborderedontheunmanageable(fromthenon,VKVwouldtelephonemeat6ameverymorningtokeepmeinformedofwhatperformanceswouldbetakingplaceduringthecomingday),VKVbecamemyfriendandguidethroughoutmystay.Heintroducedmetoawarmcircleoffriendswholikewisetookmeundertheirwing,andsupportedmeinmynewstudieswithmuchearnestenthusiasm.
ItwasanauspiciousstartandIverymuchhopedmyownstudiesofmusicanddanceinChennaiwouldbeaswarmandrewardingasmyentryintoChennaiculturallife.
LearningtheFlute
Myfluteteacher,BhaskaranKrishnamurthi,wasathin,livelyman.Havingarrangedameetingbyemailthroughhisson,Bhaskaranconsideredmewithsomeskepticismaswespokebeforemyfirstlessonandwaskeentohearaboutmyothermusicalexperience,particularlymyflutestudies.Sittinginhislivingroom,wetalkedforsometimeandImetBhaskaran’swifeandsons,whowereanxioustofindoutaboutmyfamilyandhome.Enteringthemusicroomatthebackoftheflat,IwasdirectedtositandBhaskarancarefullyunwrappedawoodenfluteinfrontofme.Withsomereliefonbothsidesofthecarpet,itemergedthattheembouchureandarrangementoffingersalongtheinstrumentborecloserelationtotheWesternflute.Whilethisimmediateconnectionwasreassuringandmeantthatitwaspossibletocoverasubstantialamountofrepertoireduringmystay,itwouldalsoyieldsomedifficulties.CertainelementsofWesterntechnique‐forinstance,left‐handpositionandhowhighthefingersaretobeliftedfromthefingersholes‐werequitedifferentinCarnaticplayingandIrealisedadjustingalearnttechniquewasinmanywaysmorechallengingthanlearninganewone.
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Carnaticfluteplayerandteacher,BhaskaranKrishnamurthi
Fromthenon,myflutelessonstookplacemostmorningsandbeganwithlearningvarisa(‘exercises’)invariousraga.Thefirstandmostsimpleraga,harikamboja,correspondedwithWesternflutefingeringandwasrelativelystraightforwardtograsp.ThefirstexercisesweredesignedtobuildfingeragilityandalsotodevelopmyfamiliaritywithIndian‘solfa’(whichruns:sa‐ri‐ga‐ma‐pa‐da‐ni‐[sa]).Writtenoutasaseriesofletters:SRGMPDN,thesetonescanbeusedfornotation,usingdashesanddotstoindicaterhythmandoctaveoctavedisplacement.Thetonescanalsobesungand,alongsidemasteringfingerings,itwassoonclearthatbeingabletosingeachnewpiecewiththecorrectsyllableswasfundamentaltolearning.
Fromhere,Iprogressedthrougharangeofvarisaindifferentraga,andbegantolearnthesubtlesystemofrulesandrelationshipsandthatgoverneachindividualraga.Ratherthanlearningaragaasasinglesetoffingerings,itemergedthateachiscomposedofaseriesofrelationshipsandornamentsbetweennotes,dependentonthepreciseapproachtoanygiventone.Masteringthenextsetofraga‐Malaharai,KalyaniandMohanan‐provedasubstantialchallengeandBhaskaranwasfirminhisexpectationthateachsetofexercisesbeplayedpreciselyandfluently.Iwasalsoexpectedtobeabletoplayeachexerciseatthreevaryingtempo‘levels’oneaftertheother(slow‐medium‐fast)andtobeabletosingeachexercisewiththecorrectsyllablesandvocalornamentation.EarlymorningsatmyguesthouseweresoongivenovertopracticeandIwouldcarrymynotebookofexerciseswhenattendingeveningperformances,workingthroughthepassagesinmyheadduringanygapsintheconcert.BhaskaranalsosuggestedthatIpurchasemyowninstrument,havingborrowedaspareflutefromhimforthefirstweekofmystay.Bringingasetofflutestoaclass,wetriedthemoutuntilsettlingonwiththejustrighttoneandtuning.Iwasrelievedtodiscoverthatmynewandprincelywoodenflutewouldcostmeonly£3.
Afterworkingontheseragathroughoutthefirstweek(althoughmyperformancesatthefastlevel tendedtosubstantiallylessthanprecise),Bhaskaranintroducedtomyfirstgitaorshortpiece,‘SriGananadha’,whichisdevotedtotheelephantgodGaneshaandcustomarilyplayedattheopeningofeveryCarnaticmusicperformance.TheintricaciesoftheragaIhadbeenlearningbegantomakemoresenseincontext,therelationshipsbetweentonessuddenlycomingaliveasthey
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shapedthelineofthemelody.Itwasalsoarelieftobeabletoworkonmemorisingsomethingwithamoremusicalshape,ratherthantheabstractpatternsofthevarisa.
Ilearntthroughacombinationofrepetition(bothsingingandontheflute);recordingBhaskaranandpractisingwiththesesoundfiles;orfromthenotationwhichBhaskaranwoulddrawintomynotebookatthecloseofeachclass.Ifoundthisvarietyofmethodstolearningextremelyhelpful.MyexperiencesofstudyingdrumminginBalihadoftenbeenquitefrustrating,wherenotechnicalexercisesandwherelearningtakesplaceonlybymemoryandusuallyup‐to‐tempofromtheveryfirstclass.TheopportunitytolearnpiecesinitiallyataslowertempoandwiththeaidofnotationmeantitwaspossibletoprogressmorequicklyandIwentontolearnanumberofothergitaincludingKundaGowra,VaraVeenaandKamalaJaadala,eachpiecesputtingoneoftheragasIhadlearntintopractice,andeachincludingincreasinglycomplicatedornamentation.
SomeofBhaskaran’snotation,includingtheragatoneswrittenoutatthetopofeachgitaandthesongtextsforeachgitawrittenbelowthemelody.
Bhaskaranwaskeentopromotehimselfasaninternationalteacherandwantedtofilmmyclassestopostonyoutube.Ifoundthissuddenpublicqualitytomylessonsunnervingandwasinitiallyalittlereluctanttoparticipate.However,IrealisedthattakingpartwasanimportantwaytoshowmyappreciationtoBhasakaranforallhishelp,andIalsoreflectedonthemanymusicianswhohadassistedmeinmyPhDresearch,allowingthemselvestoberecorded,interviewedandphotographedwithoutknowingquitewheretheirwords,musicandimagewouldendup:thetableshadturnedanditwasmyturntojoinin.So,here’salinktoaclipfromoneofmylessons:
http://www.youtube.com/watch?v=SXoIBIiIdWM
[Orelsepleasesearchfor“Bhaskaranflutelessons”inyoutube]
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SpendingtimewithBhaskaranandhisfamilywasnotonlyanamazingmusicaleducation,butpresentedmuchwiderpossibilitiesoflearning.Bhaskaran’swifeshowedmethebestofSouthIndianfood.Iatedelicioussweetporridge,flavouredwithgingerandcardamon,beforeclasses.Onfestivaldays,Iatemoundsofvegetarianfoodfromgreenbananaleaves:spinachdal,curdriceandlimepickle.Iwasgentlyinstructedwhereandhowtobuyclothes:wheretobuythecheapest,qualitysalwarekameeze(aswornformydanceclasses‐baggycottontrousers,alongtunicandascarftobedrapedacrossthecollarbonestodriftbehind);wheretofindthemostbeautifulsaris;howtotieasari;wheretohavethesariblousetailoredtofit.
DinnerduringPongal,theTamilharvestfestival,atBhaskaran’shouse
IalsohadanintroductiontoAyurvedicmedicinewhichprovedacautiousrevelation.BeforeIflewouttoIndia,I’dexperiencedincreasingsorenessinmywristsandhands.Uncertainifitwasfromtyping,orfromtoomuchBalinesedancinginLondon,Ihadhopedthatthepainwouldeaseonarrivinginawarmclimateawayfromcomputer.AsIbeganmystudies,thisprovedpartiallytrue,butIsoonbegantostrugglewiththedifficultgriprequiredbytheCarnaticflute.WiththeWesternflute,theinstrumentmayrestonthesideofthehandbetweentheleft‐handthumbandforefinger,buthere,theCarnaticflutemustbepressedbythefingersaloneontothejawwithoutusingthesideofthehand‐apositionwhichinitiallyrequiredconsiderablymoretensionandstrengthinmyfingersthanIwasusedto.
Astheproblemdeveloped,Bhaskaranshowedgreatkindnessandconcern.Hesuggestedarangeofbreathingexercisestorelaxthemusclesandwasinsistentonalwaysplayingwiththegreatestpossiblesoftnessinthefingers.However,asthepaininmywristincreased,BhaskaransuggestedIvisithisAyurvedicdoctorformedicationandamassage.HavingalreadyhadseveralAyurvedicmassagessincemyarrival,whichhadprovedrelaxingbutnotparticularlyhealing,Iwasskeptical.Theywerealsorelativelyexpensive.Bhaskaran’srecommendationwasquitedifferent.IwasseenbyadoctoratChennai’sofficialAyurvedichealthcentreandgivenaprescriptionforaselectionofoilstoheatupeacheveningandmorningandthenapplytomywristsandforearms.IwasalsogivenaAyurvedicmassageattheclinic,whichincludedtheapplicationofgreatquantitiesof
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specialoilstomybody,andastrange‘pattingdown’withcollectionofleaveswrappedupinoil‐coatedclothandheatedtoscorchingpointonafryingpan.Whileatfirstuncertain,followingthemassageandaweekofapplyingtheoils,mywristsweremuchimprovedandbythetimeIleftIndiaattheendofthemonththerewasnopainremaining.Theentiretreatmenthadalsocostless than£2.Whetherornotitasthegoodweather,amonth’sescapefromthecomputerkeyboardortheAyurvedictreatment,IwashugelyrelievedandextremelygratefultoBhaskaranforhishelp.
LastclasswithKBhaskaranathishomeinMylapore,Chennai
LearningBharatanatyamdance
HavingstudiedBalinesedanceintensivelyforthreeyears,IwaseagertotryoutadifferentstyleofAsiandanceandconfidentthatIwasingoodconditiontotryBharatanatyam.Iwashoweverunpreparedforthesheerphysicalstrengthandendurancerequiredforthisdance‐butonceIgotthroughtheinitialshocktothesystemofthree‐hourclassesinthebakingheat,Ifoundtheprocess oflearningBharatanatyamoneofthemostrewarding,excitingandsatisfyingexperiencesofmylife.Itwasalsoabrilliantcompaniontomyfluteclasses,whichrequiredsuchadifferenttypeofconcentration.Althoughcombiningbothsetsofstudiesprovedachallenge,particularlyasbothrequiredsubstantialprivatepractice,IfeltitmadeahugedifferenttolearnaboutboththeseaspectsofSouthIndianperformanceinconjunction.
Fixingthedanceclassesinitiallyprovedtricky.WhilemusiciansduringtheChennai‘Season’areinvolvedinnumerousperformances,theirtimecommitmentsarenottooonerousasensemblesusuallyworktogetherthroughouttheyearandthemajorityofrepertoireisalreadywellestablished.Fordancers,particularlyfortheheadsofdanceschoolswhoalsoactaschoreographers,preparingnewworksforperformanceatthefestivalistremendouslydemandingandrequireshoursofrehearsaltoteachandpolishallthemovements.Fromhere,directorsmustthencoordinatethedancerswiththemusicalaccompanimentandarrangecostumes,setsandpublicity.ItwasafewdaysintomystaybeforeIwasevenabletomeetwithmyteacher,KanchanaJanardhanan,andsheappeareddeeplyconcernedthatshewouldhavesufficientfreetimeto
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teachmeafterall.Itwasagreedthatwewouldhaveoneclasstogetherandshewouldthenconsultherscheduletoseeifitwaspossibletomaketimeornot.ItwaswithsometrepidationthatIsetoutformyfirstclass,awarethatifIdidnotshowenoughconcentrationandcommitment,Imaynotbeabletocontinueclasses.
Bharatanatyamdancer,choreographerandteacher,KanchanaJanardhanan
Kanchana’sclassestookplaceinasmallshed‐likespaceatthebackofagrandIndianhouseownedbythefamilyofoneKanchana’sstudentsontheothersideoftown.ThiswasKanchana’sstudioforheracademy,theMayuraSchoolofDance,andIwassoontodiscoverthatherteachingandrehearsingschedulewasindeedusuallycrammedfullofworkwithenthusiasticpupilsandhardworkingprofessionaldancers.
TheMayuradancestudiowhereclassestookplace8
AnyBharatanatyamlessonmustbeginwithaprayertotheHinduGodShiva,intheincarnationofNataraja(lit.theLordoftheDance).Theprayerisintheformoffootstamps(tattu)ontheground,aseriesofhandgesturesandtouchingtheteacher’shandsorwoodblock(onwhichtheteacherbeatstherhythmforthestudenttodancetothroughouttheclass).Myfirstlessonbeganwiththeveryfirstofthepostures(karanas)andhandgestures(hastas)whichcompriseBharanatyam.Kanchanawasawarmbutferociousteacher,relentlesslybeatingthewoodblockwithasmileasIwouldbeganatenthrepeatofasequenceofsteps,eacharedhotcrunchofthethighs.Whateverelse,IwasdeterminednottogiveupandKanchanaagreedtotakemeonasherpupil,fittinginclassesbetweenrehearsalsfortheMayuraSchool’sownperformancetowardstheendofthemonth,forwhichIhadtopromisetoattend.
AshrinetoShivaintheMayuradancestudio
Classeswerecontinuousandintenseandforthefirstweek,eachclassfollowedbyconsiderablepaininmythighsandfeet(acrucialmoveinBharatanatyamisasharpfootstamp,whichmustbeaudibletoanaudience,sorequiresconsiderableweight).Kanchanaadvisedsoakingmylegsinhotwaterafterclassesandonreturningtomyroomstillburningwithtiredness,Iwouldsitmylegsinthelargeplasticbucketinstalledinmyguesthousebathroomandwaitfortheheattocreepintomymuscles.Graduallythepainbegantosubside,andIstartedtotakeanalmostmasochisticdelightintheseclasses,workingashardasIcouldtomaintaintheposturesandkeepthemovementscrispandstrong.
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AseriesofBharatanatyamkaranasorpostures
AftersomeinitialfrustrationatnotrememberingwhatIhadlearntinaclassthedaybefore,IestablishedawayofnotatinganynewmovessothatIcouldpracticemoreusefullyatthehotel,andbegantounderstandtherealandpracticalconnectionsbetweenthemusicIwaslearningwithBhaskaranandtherhythmicpatternsofBharatanatyam.
SomeimpromptuBharatanatyamnotation
Theonephysicalreleaseintheclasswaslearningthehastasorhandgestures,whichareparticularlydescriptiveandallowtheBharanatyamtoplaydifferentcharactersandtellintricatestoriesduringasolodance.After40minutesuprightwork,Kanchanawouldinvitemetositwhere
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Imayeatorangesorcurdricewhilecatchingmybreath(Iwasnotallowedtodrinkanywaterduringalessonasitbloatsthestomachandmakesithardertocontinue).Whilesitting,wewouldworkthroughthevarioushastas,learningthegesturesforeating,crying,aking,asnake,abumblebeeandsoon,beforereturningtoworkontheuprightpostures(karanas)andfootstampingpatterns(tattu).
ThelastweekofmytimeinChennaicoincidedwiththeMayuradanceschoolperformanceswhichtookplaceinoneofthesmallerstagesattheChennaiMusicAcademyandattheMylaporeFineArtsClub.ItwasfantastictoseeKanchana’sstudentsperform,frompupilswhohadbeenlearningBharatanatyamforjustoneyeartohighlyadvancedstudentswhonowworkedasprofessionaldancersandalsosharedintheschool’steaching.ThefinaleveningincludedapremiereofKanchana’snewchoreographywhichchartedthetrialsofRamaandSitafromtheRanayanaandfeaturedhermostskilleddancers,whohadlearnttheentirepieceinjustoneweek.Iwashonouredtoattendandtohavethechancetoassistwithpreparationsandcostumechanges.Iwasalsohelpedintowearingasariforthefirsttimeandfestoonedwithborrowedjewellerybeforetakingmyseatintheauditorium.Itwasabrilliantendtomystaytobeabletobeabletowatchsomuchskillandhardworkinaction,andmuchofmyfinalfewlessonswithKanchanaaftertheshowswasspentdiscussingtheperformancesandallthathadgoneintothem.Itwaswithmuchsadnessthatwepartedattheendofmyvisit,andIverymuchhopetobeabletocontinuemyBharatanatyamstudieswithKanchanainfutureyears,andperhapsonedayhavetheopportunitytoperforminIndia.
LastdancelessonwithKanchana
ReturntotheUK
I’vebeendelightedtodrawonmyexperiencesinTamilNaduinanumberofwayssincereturningtotheUK.MyBalinesedanceteacherinLondonhasworkedonanumberofprojectsinvolvingBharatanatyamandsowehaveenjoyedpractisingSouthIndiandancetogetherandexploringthemanyconnectionsinmovementbetweenBharatanatyamandBalinesechoreography.I’malsocurrentlyinvolvedintwoperformanceprojectswhichdrawdirectlyonmystudiesinChennai.I’mworkingwithaLondon‐basedcellistonadanceinterpretationoftheBrittenCelloSonatainC,whichwilldrawonbothIndianandBalinesedancestylesforaperformancelaterthisAutumn.This
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ismyfirstpieceofchoreographyandfeelslikeadaringventure,butalsofeelsmuchsupportedbymyworkwithKanchana,particularlyfromwatchingherinactionduringrehearsalsfortheMayuradanceproject.IamalsoworkingasacomposerwithdirectorKaterinaPushkinonatheatre‐in‐educationprojectsponsoredbytheBirmingham‐basedSouthAsianartsorganisation,SAMPAD.Theprojectwillbeapieceofstorytelling,basedontalesfromtheRamayanaforperformanceinschoolsacrosstheWestMidlands.Iwillbewritingandperformingallthemusicfortheplay,whichwillincludeamixtureofliveandrecordedperformancesofCarnaticflute.
IwouldliketoextendmydeepestthankstotheFinziTrustforenablingmetocarryoutthisprojectinChennai.ItwasanamazingexperiencetobefreetostudyCarnaticmusicanddancewithsuchintensityandtobeabletoimmersemyselfinsuchanamazingperformancetradition.IhaveverymuchenjoyedstayingintouchwiththeteachersandfriendsImetinChennaiandIlookforwardtoreturningtoTamilNaduassoonasIcantocontinuemystudies.
BharatanatyampostureoftheHindugodVishnu‐thefluteplayer
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