When I first began choreographing, I never thought of it as Choreography but as expressing feelings. Though every piece is different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else - the music, the set, the movement and whatever is said’ - Pina Bausch . World-renowned Choreographers listened in rapt attention, as the voice of this American choreographer of repute boomed across the length and breadth of the room. He shrugged his wide shoulders nonchalantly, and glancing condescendingly at the Indian delegate who was busy sketching on a piece of paper, he continued, “Choreography, Ladies and Gentlemen, is an art, a skill of sequencing movements to conform to a definitive design. A Choreographer decides on the placement of his artistes on stage. Choreography is a composition of various movements that are unified as an entity through a singular tenor.” Every word seemed to hit the audience with the force of a Thesaurus synonym. The French Choreographer pointed out that Choreography was a specified set of human movements on stage, which exhibited emotions and energy; he clarified that these movements could evolve from various techniques and combinations. The audience appreciated his views and applauded generously. The Italian delegate spoke about repetition in Choreography - especially in dance movements that were fleeting and spontaneous. Disagreeing with his French counterpart, he said that Choreography could not be planned and dictated. He believed that interpretation formed the basis for innovative Choreography. The European Choreographers seemed to be sticklers for technical detail, while the pan-American ones seemed to rely more on design and placement on stage. Words like mirroring, retrograde, canons, levels, shadowing and unison were fired like unguided scud missiles, as various speakers attempted to explain the technique of dancing in pairs or in groups. The atmosphere had indeed become charged. However, the Indian choreographer just carried on with her sketching. The annoyance of the American with her was most apparent, especially when a few sheets of her sketches flew towards him.
As the gathering broke for lunch, the American delegate glanced over the Indian’s shoulder to see what she had sketched. He saw a few graphics, seeming like words of some unknown language. They were ‘shlokas’. Taking just a frugal bite from her plate, the Indian choreographer was engaged in conversation with her counterpart from Botswana. Their conversation was not on the elements of dance, but was focused instead on family and children. The post-lunch session saw more speakers take the stage. The Indian was called in as the last speaker. As she walked past the other delegates, a rude voice rang out, “If only you were listening…’. The Indian choreographer placed her spectacles firmly on the bridge of her nose and smiled. She commenced, “I am sure that the delegates have enriched themselves with the knowledge shared during this seminar. Considering the success and creativity of each of them on the stage for decades, their comments have their own merits. It is also true that regional diversifications in the dance world are manifesting into an international unification; and that the lines of distinction are blurring and, beyond doubt, cultures are intermingling. But my experience with Indian classical dances has always made me ask myself a question - why the need for Choreography? Do not be startled. Dance, to us, is not intended to have an outcome, a goal or a vision. It is a release of energy, a unique expression, which naturally comes from within. India has more than 400 forms of dance, and more than a dozen ‘classical’ ones; each movement in each style has its distinctive dignity and artistry, which cannot be supplanted by the other. It is not about synchronisation, or individuality, or even about placement or technique, but about the art of being deep-rooted. An Indian classical dance can display grace and gentleness in its female form, and at the same time have acrobatic twists and turns in its male version. One dance could be lyrical, with appropriate gestures, facial expressions and sprightly movements, while another could be very subdued. However, when two or more Indian dancing styles are combined into a single choreographic entity, there is an element of under-use and un-use.” She continued, “Let me explain. Our Gurus have experimented with dance forms, and have combined the nuances and tenets, without compromising on the term, sense, style, regional flavour and space - which are often masked by the panoramic setting of Choreography. Choreography creates a new style, and in course of time a new dance form itself, which is undoubtedly its selling point. It is also instrumental in the creation of new variations, in the ever-expanding horizon of dance. But, does it really preserve that which is pristine and pure in dance? Our Gurus never taught us to choreograph or design. They made us understand the mystical aspect of the lyrics and compositions, and
the use of different musical instruments - not as mere accompaniments, but as a part and parcel of the entire dance ‘package’. We work on our instincts and let new forms take over from existing traditions, and also understand and acknowledge that tradition also gets reinforced deeply by newer forms of dance. Indians just dance; our dance choreographs itself.” She looked at her American friend and concluded, “My apologies to you Sir, but Choreography, as I see it, is a Broadway concept of the 1950s, a necessity of the American and European post-war performing art revival effort. I appreciate that effort, and attempt to learn from it with each passing day. Our Gurus and our ‘shishyas’ never were, nor will ever be, Choreographers, for we have always been traditionalists who have let evolution run its course. We are ‘evolutionographers’.” As she walked down from the stage, there was no applause, no reaction…and if silence could speak a thousand words, they were already spoken by the impressive (and impressed) audience.
The Writer is a renowned Kuchipudi Danseuse and Choreographer
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