Art, Technology, Research and etc
The proposition of uniting technology and art on stage has been on my mind and in my writing in the past few months. Today, I take you into the world of research. With Kabali mania holding Bangalore's traffic to ransom on Friday, I trekked a good 2 and half hours, hopping from cab to bus to metro rail to auto, to a rather interesting talk. Dr. Partha Pratim Das and Tanvi mallick are strangers to the world of Bharatanatyam by their own admission. But their work in the field of automated analysis of dance at IIT Kharagpur is something that could become integral to the world of dance in future.
Here is my brief understanding of their work. Dr. Das and Tanvi are creating an automated analysis device that can recognise adavu patterns and associated sollu. All movements and audio associated with adavu movements have been recorded into the device database. A video recording of a dancer dancing a particular adavu can be captured,analysed and recognised by the device with about 90% accuracy. Having created a database of adavus- sollukattu phrases associated with movement versus stillness, gross linear movement, movements of the fist, gyrational (revolving or rotatory) movements, the work that they have begun is in infant stages but is fascinating in the potential it offers. Adavu patterns are the begnning - more complex movement, facial abhinaya recognition and more are waiting to be explored.
If the device can eventually be built to the extent of recognising complex and fast movements, and abhinaya, it holds enormous potential in assisting dancers. While I am apprehensive of the use of such a device or app in tutorials (as was projected), the use of this device in becoming a transcription method, coding choreography and the use of this in the field of fitness and therapy for dancers is paramount. The slightest changes in body angles, the use of wrong postures, and even impending injury could become easy to recognise. Devices that recognise small inflections in muscular movements have been used in the field of sport for a while now. To build a device and database that can be specifically used by dancers is more than welcome. We must wait to see how this project develops and the paths it will take. Hopes ride high on such endeavours.
Thank you Smt. Supriya Komandur and Ananya Bengaluru for inviting artistes to this forum- to appreciate the development of technology to aid art in its truest sense.
Meanwhile on the other side of Bengaluru, 'bharatanatyam teachers' making monies from naive parents and teaching what may not look like Bharatanatyam at all. Educating the layman to differentiate between money spinning dance-class gimmicks/teachers and well...dance; is a huge task. How does one reach good art to the layman? That art itself is subjective makes the task even more difficult. That great art, discussions, deliberations and performance co-exist with audacious displays in the name of art is a reality that we must unfortunately acknowledge. Hopefully we will find ways to weed out the nonsensical before it's too late.
Here is my brief understanding of their work. Dr. Das and Tanvi are creating an automated analysis device that can recognise adavu patterns and associated sollu. All movements and audio associated with adavu movements have been recorded into the device database. A video recording of a dancer dancing a particular adavu can be captured,analysed and recognised by the device with about 90% accuracy. Having created a database of adavus- sollukattu phrases associated with movement versus stillness, gross linear movement, movements of the fist, gyrational (revolving or rotatory) movements, the work that they have begun is in infant stages but is fascinating in the potential it offers. Adavu patterns are the begnning - more complex movement, facial abhinaya recognition and more are waiting to be explored.
If the device can eventually be built to the extent of recognising complex and fast movements, and abhinaya, it holds enormous potential in assisting dancers. While I am apprehensive of the use of such a device or app in tutorials (as was projected), the use of this device in becoming a transcription method, coding choreography and the use of this in the field of fitness and therapy for dancers is paramount. The slightest changes in body angles, the use of wrong postures, and even impending injury could become easy to recognise. Devices that recognise small inflections in muscular movements have been used in the field of sport for a while now. To build a device and database that can be specifically used by dancers is more than welcome. We must wait to see how this project develops and the paths it will take. Hopes ride high on such endeavours.
Thank you Smt. Supriya Komandur and Ananya Bengaluru for inviting artistes to this forum- to appreciate the development of technology to aid art in its truest sense.
Meanwhile on the other side of Bengaluru, 'bharatanatyam teachers' making monies from naive parents and teaching what may not look like Bharatanatyam at all. Educating the layman to differentiate between money spinning dance-class gimmicks/teachers and well...dance; is a huge task. How does one reach good art to the layman? That art itself is subjective makes the task even more difficult. That great art, discussions, deliberations and performance co-exist with audacious displays in the name of art is a reality that we must unfortunately acknowledge. Hopefully we will find ways to weed out the nonsensical before it's too late.
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