Media Release
Bangalore, Mar 5: Noopura Bhramari Research Association (R) and Karnataka Researchers Federation, here jointly organised a one day workshop on 'Research in Dance – Process and Challenges', the first of its kind in Karnataka recently at Nayana Auditorium, Kannada Bhavana, JC Road, here. On this occasion ‘Dance researchers Association’ was also inaugurated.
The day long events were inaugurated by Leela Devi R Prasad, (former minister, Department of Kannada and Culture). The Karnataka Researchers Federation expressed its pride to support a research based workshop, and assured its participation and support to all in the research field from all disciplines in such endeavours in future also.
A special edition of Noopura Bhramari including data on PhD, Dlitt research work done and undertaken till date by various researchers in Karnataka with respect to dance, folk dance, yakshagana and the list of dance books and periodicals in Karnataka was released by the
legendary multilingual scholar and poet, Shatavadani Dr R Ganesh. As Dr H S Gopala Rao (epigraphist/historian) was unwell, the benedictory message and expert note sent by him was read by Manorama B N, president and editor, Noopura Bhramari Foundation. He conveyed the need for interdisciplinary studies. "No art is independent; hence an artiste is complete and competent in his creation, only when he is best acquainted with all related arts," he said. He summed up saying that this outlook and vision was called research orientation.
The sessions were presided over by Dr Shesha Shastri, renowned scholar in Kannada and cultural history of Karnataka. In his key note address, drew attention towards the present situation in the field of dance. Amidst gurus of traditional approach and experimental outlook, there are as many gurus who are just opportunists under qualified but pose as experts of dance. They lack the necessary discipline, patience and commitment. The best way to improve the situation is to make these people aware of the Natyashastra. But the knowledge of Natyashastra should not be restricted to gurus and students. It should be accessible to the spectators which will make the process of 'rasa' more meaningful.
Then, he insisted on the insight for research in artistes which alone would improve the quality of performance. He added that one cannot question a researcher’s authenticity in his dedication to the work, but one has all the rights to question the authenticity of the work,
as newer and newer works are born of such questioning. Thus, Dr Shesa Shastri clearly demarcated between the personal and impersonal factors in research. He emphasized on the need to understand the methodology first.
Manorama welcomed the gathering and provided introduction. Dr Revayya Wodeyar, secretary, Karnataka Samshodhakara Okkuta, presented the vote of thanks. Tejaswini sang the invocatory song while Niveditha Srinivas compered the programme.
The morning sessions were presented by resource persons. The first paper was presented by Dr Karuna Vijayendra, art historian. Her paper on 'Mahanata- an Appraisal' was received with astonishment at the magnitude of research that went behind it. The lecture was supported by demonstration of Karanas by Dr. Shobha Shashi Kumar.
The next paper, ‘Confluence of Theory and Practice in Bharatanatyam’ was presented by Dr Shobha Shashikumar, researcher and performer, guest lecturer, Jain University, Bangalore. Her paper summed up the meeting point of theory and practice in Bharatanatyam. The
lecture was supported and demonstration by Kum Keertana, disciple of the speaker and helped in understanding how Natya Shastra techniques would enhance performance techniques.
The next paper was presented by Manorama B N on the ‘Representation of dance in the Kannada novels’. The second part of the convention gave paper presentations by young researchers. The session included brief papers by serious researchers working for their thesis. Shalini presented a paper on ‘Placement of the compositions of the Tanjore brothers in today’s Bharatanatyam”. Next, Sapna Nayak from Goa presented her paper on ‘The development and changes in the Aharya of Bharatanatyam in the period between 1910 and 2010’. The third speaker was Sudhir Kumar, who spoke on, the ‘Application of Film music to Bharatanatyam’. He argued how, many lyrics from the films were suitable to Bharatanatyam as the sahitya and sangeetha offered scope for representation. The last paper was of Dr Satish Kumar Andinje on ‘Folk Dances of Coastal Karnataka as a medium of communication’, but presented by Padmanabha, due to the absence of the former, owing to his personal problems. The sessions were debated upon and thereby had a vigorous approach.
The following session saw an open discussion in the topic ‘Relevance of dance research; responsibilities, processes and opportunities’. Shatavadani Dr R Ganesh briefed about the dance presentations, their responsibilities involved, problems faced, methodology followed
and opportunities available. Leading and conducting the questions and answers session, he enlightened on research work in the dance field. The discussions were encouraged, supported and enriched by the involvement of Dr Shatavadani Dr R Ganesh and Dr Shesha Shasthri.
Noopura Bhramari Foundation conferred the Best Dance Critic award of the year to Pratibha Samaga, and husband, M L Samaga, (president of Karnataka Yakshagana Bayalayata Akademy) was by her side. Respected Guru of Mysore style Lalitha Srinivasan being present at the time, did the honours of garlanding the awardee. Pratibha shared her experiences after receiving the award. Trustee of Noopura Bhramari
Vishnuprasad read the certificate of honour while Shalini Vittal introduced the awardee.
Renowned dancer and film actor Shridhar, the chief guest of the evening, delivered his address to the sabha. He stressed the importance of unifying theory and practice in dance. He added that theory helps to sink into the innermost depths of sahitya from where the dance should spring out, lest the dance should be akin to a parrot’s delivery of the teacher’s choreography. Without understanding the ‘Sthayi rasa’, without a deeper knowledge of the subject, a dancer ventures into performance, these days. It has become a common notion that
dance is from the ruins and is a remainder. He then pointed out to the time of Devadasi who were known for their perseverance, discipline and honesty. He expressed his grief over fading away of such values with time. The hereditary dancers, learning dance for years, know the
mammoth form of art but those who do a short visit to classes are a threat to the field. At this point of time, the path of research as a retrospective, introspective approach will benefit the development of dance.
In his presidential speech, Dr R Shesha Shastry, congratulated the association for its way of working, appreciated the effort of the association in identifying able critics and honouring them. This gesture is rare to find in the field of art. He added that, this effort would only
enhance the responsibilities of the critics thus making them more aware of the facts of the field. Certificates were distributed to dancers, research enthusiasts participated in the workshop by Dr Shesha Sastry and Sridhar. While Manorama presented her pre award welcome address and thanked supporters, Padmini compered.
Dr Shobha ShashiKumar presented a research based performance in the evening, incorporating the Natya Shastra and Alankara Shastra techniques in her performance which was very well received leaving the sahrudayas spell bound. The performance was supported by Prasanna on the Nattuvangam, SriRanjani on the vocal, Janardhan on the mridangam, Venugopal on the Flute, Shubha on the veena. Dr Karuna Vijayendra rendered technical support to the whole unit and Dr Ganesh concluded by pointing to the propriety, significance and greatness of the performance. Members of the dance research association, Srinivas and Vedavathi honoured the music ensemble.
The whole day’s sessions and performance were dedicated to Guru. Sundari Santanam (Late), a great visionary and contributory in the field of dance in the name ‘ Sundari Sanje’.