अंतर्मनाशी संवाद साधणारं नृत्य | पार्वती दत्ता मुलाखत | स्वयं मुंबई २०१९

अंतर्मनाशी संवाद साधणारं नृत्य | पार्वती दत्ता मुलाखत | स्वयं मुंबई २०१९


Is it possible to preserve these art forms? Our country was such that years ago we had this thought about social responsibility Everyone knew that we had to give something to Vasudev, This was our responsibility amongst the youth those who are thinkers, intelligent those who think, they are coming back back ground music is played In the last twenty minutes using only seven english words she has explained how good hindi is spoken. Applause This has put me into a physiological pressure To try and use the least English words in my conversation with you. India has a enriched history of dance Which is said to have evolved with Shiva some 5500 to 6000 years ago. Here every region has its own dance form. and the methods of teaching them also differ. If we start from the north to kanyakumari in the south then Odissi, Kuchipudi, Bharatnatyam, Kathak Every region has its own dance tradition and its importance How do you look at all these dance forms? Which dance form do you teach and promote in your Institute Mahagami? I have been a student of kathak and odissi. and I teach both these dance forms in Mahagami When you talked about the history of Dance Our oldest scriptures which our ancestors got, which are existing It is possible that there are even more ancient scriptures which are not available If we talk about Natya in today’s context then the first option that comes to mind is Natak ie. drama But Natyashastra, as mentioned in the scriptures means Stage Art Means any art performance performed on stage was in an integrated from It had all the components of a performance ie.Dance, Drama, Singing, Instrumental music and dialogues and stage decoration. In those times the dance forms were not the way they are today. Kathak, Odissi, Bharatnatyam, Kuchipudi all these forms have evolved thousands of years later, new dance streams have come to light This is similar to how Sanskrit is our ancient and first known language But now many regional languages are prevalent. We can however see some elements of sanskrit in all these languages We can say that they have all originated from sanskrit All the different dance forms are also the same Natyashastra does not mention any of these dance forms Odissi can be said to have mention. Of the five basic dance forms mentioned in the natyashastra The five forms are Avantika, Audramaghadi, Madhyama, Dakshinatya and Panchali. Of these Audramaghadi can be said to be a dance form existing in Odissa and Maghad in those times So the history of current dance form have come to light in different forms. Some were a combination of drama and dance or only solo dance form like kuchipudi which was dance drama combination and later evolved as only solo dance form Kathak would have been a narrative form of expression and later it developed over generations and later evolved as a dance form. Today when we look back there we observe lot of similarities. We can identify with its basic language in the old scriptures. But today it has its own grammar, its own alphabets and notations. its own literature, own thought process and techniques So today with Mahagami as a medium I am trying train students in Odissi and Kathak dance forms We also try to acquaint out students and the society with other dance forms. When we talk of introducing the dance form, Foreign countries also have their own dance tradition If we consider the European Continent, each country within Europe had its own dance form Don’t you think that the youth today is attracted to foreign dance forms? Yes that’s true, but they are understanding the importance of our dance forms as well Applause I see many youth today have realised the importance of Indian dance forms I know of many people who went to USA for studies and started working there When people there asked them to tell us about India you have a very rich culture, various art forms and an enriched tradition. That’s when they were ashamed that despite living in India they could not say much about their country. They wondered why they did not learn more about this and many returned back to India. When we talk about globalisation, I look at it positively They are looking at us and we are looking at them This is also a positive note Applause The evolvement and spread of any dance form needs some one to strongly support it and disseminate it. In the olden times this was done by the temples. If we talk about the south of India, it was a tradition and every temple promoted its own dance form. Later the kings and princely states did this work Who do you think is doing it today? Is it possible to preserve these art forms without a sponsor? I have come to you with an answer to this. When every individual of the society will be sensitive and will be proud of it Will each one feel that its his need. It’s like every family today, feels that every month they should watch a movie that helps them go for an outing There was a time when our social structure was such that appreciating art was our social need. I would like to see a celebration, an art spectacle, a performance was my need. Till we do not consider it our need Hence I say it’s a very symbiotic relationship. This relation between a performer and rasik, is not such that the performer will present and plead that the spectators should appreciate it. This is also the need of the spectator as this also elevates their thinking. This develops their sensitivity and observation skills. We need to bring this ideal situation slowly. I find some of the words currently used very fascinating Like Corporate Social Responsibility. But in Indian culture this social responsibility has been there for thousands of years. Everyone knew that we had to give something to Vasudev in the morning This was our responsibility and we had to do it. Applause This was not done as a favour, it was our need, it gave us peace of mind. That I could give a small thing to a person promoting folk culture of folk art. This is my need and it’s very important to understand this. Applause This is the first time that I have seen Delhi giving something to Maharashtra. Applause I would like to pose the last question. Dance has given you a lot. When you were presenting dance, the tenderness with which you were presenting. Today’s youth who are lot in technology or in rhythm Can art reach touch souls? This is a subject of analysis for me and I have been successful in finding answers to a large extend I have understood that today’s music or loud notes or gesticulation, What is this? If we try and analyse this type of music or dance we will realise that it is escapism. Its escapism because our life style is such that we are unable introspect. This is out tough luck. When we look into the mirror, all we see is out image but we cannot see ourselves within Our Indian classical forms of singing, instrumental and dance help is introspect and connect with the mind This helps us to identify ourselves. If we deprive ourselves from this journey Then our restlessness will increase over a period of time We are not equipped to cope with this restlessness So we use escapism in the form of loud music or gesticulation Which helps us forget our bodily form. Forget oneself means One form is what I explained to you’ll. That you dissolve yourself in the dance form This is a different form of oneness and this is when you wish to forget yourself because you are not sure who you are. Applause You don’t know who you are so you choose escapism. It’s just a temporary recreation. It’s like today my house is very untidy so let’s go out and eat as there are no arrangements. This kind of music or dance will not elevate you. It will temporarily take you in a comfort zone where escapism prevents you from confrontation. Applause I see amongst the youth those who are thinkers, intelligent those who think they are coming back because they have understood that there is no future to escapism There is future in getting into a dialogue with oneself, in understanding oneself and enriching oneself, the future lies only there. Applause Audience, probably for the first time someone has spoken so high about bodily gestures. Applause We have met many dance teachers but today we confronted DANCE Thank You. It felt that we are at Mahagami and attending a lecture at a world university and all sitting here from age 5 to 75 are your students. We wish that through you the most priced possession of this country, the art form, is spread all across. All those sitting here get inspired the think that our dance forms are also good which we have to preserve. Today I experienced that by the movements and variations of the hand in a distance of three four feet How a bird, a jungle, a river, water, fire, the sun and a flower all can be depicted. This felt like we met the Vice Chancellor of a Dance Academy. Thank you very much. Applause

3 thoughts to “अंतर्मनाशी संवाद साधणारं नृत्य | पार्वती दत्ता मुलाखत | स्वयं मुंबई २०१९”

  1. खुप सुंदर होते.खुप गोष्टी लक्षात आल्या आहे.👌👌👌👌
    अजून असेल तर ते शेअर करा.

  2. नमस्ते ….

    राजेंद्र बागवे सर …. नाशिक

    हे 2005 पासून उद्योजकांना साठी एक अत्यंत चांगली चळवळ करत आहेत …. कोणताही स्वार्थ ना ठेवता ….

    त्यांचा अशा प्रकारचा इंटरव्यू घेता येवू शकतो ….

    प्लीज घ्या …. खूप चांगलं काम करत आहेत …..

    माझा मोबाईल क्रमांक 9922981144

    बागवे सर .. मोबाईल क्रमांक —
    98814 08535

  3. Thanks swayam team for such videos…
    Very rare to see people's like her have very very faith and positivity towards there work. And they are rooted. Need to adopt such quality.

    Very thanks

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