The Artiste and Critic Part 3 - The possibility of the Observer
One of the oft repeated laments among young artistes is the brutality with which judgement is sometimes placed on a single performance. This, they would say, is unfair because artistic growth cannot be assessed from a single performance. Rather, it is something that can be gauged after a period of time has passed. It is only then that one can see marked changes or progression, if any. However, if a cumulative effect of growth must be seen over time, it is essential that every performance is objectively and critically assessed and lessons are carefully assimilated by the artiste. While we acknowledge the importance of the role of the critic in this regard, I take the liberty of proposing another possibility.
In the previous articles of the series, I examined the relationship between artiste and critic- through the eyes of both.
"In contemporary times it is difficult to find constructive criticism and at the same time artists are not able to take criticism in the true sense.Very few critics probably understand the nuances in detail to give an unbiased opinion or criticism. Dancers being over sensitive, sometimes egoistic,are not able to digest the criticism and so they create their own barriers.It is unfortunate that today dancers lead a superficial life.I feel today young dancers must be strong enough to face the constructive criticism in the right perspective and improve their knowledge about the dance and also their performance so that they are well equipped for these criti
cisms.On the other hand the critics should be genuine in their criticism who know the art-form in-depth to analyse any performance."- Dr. Uma Rele.
In the current article, I place the very journey of artistic growth under the scanner and look at it through the 'critical' glasses of fellow artistes. I propose what could be a possibility. By engaging the artiste and fellow artiste in a critical analysis of performance, would it possibly open up the dialogue between art and artiste a bit more? If one were to open up an analysis and feedback session with fellow artistes post every performance and follow it up with critical reviews in media, would it add value to artistic growth? If we are to bring the fellow- artiste into a performance, we cannot bring them in as critics because they would not have the experience and knowledge that are the basic requirements of a critic. So for the majority of younger artistes who are yet to gain the necessary experience, can we create the possibility of being an "Observer" at a performance. Would young artistes make objective observers, in the first place? If having come in with an objective mind, would a young artiste be able to articulate their thoughts on the performance logically and objectively without judging the 'artiste'? Should we encourage a trend of publishing 'observations' in the 'Review' section of print and online media? Does one run the risk of the young artiste being intimidated by the artiste/Guru/star on stage and fall short of publishing an honest opinion? Would we also run the risk of creating a generation of 'know-it-all' Observers who may lose objectivity down the line?
In every possibility, the gains and risks stare at us in equal measure and so to gauge what artistes themselves feel about this trend, I asked them this:
If I were to invite you as an observer to a performance, would you be able to critically review the performance without being judgmental and having the (perceived) high-handedness of a critic? Alternatively would you invite young performers as Observers to your performance?
How young is young becomes a point of discussion. If review is non-judgmental, yes- it would be a possibility. But these artistes must have the ability to think beyond their own framework of dance and come in on neutral grounds. - Dr.Vasanth Kiran.
Primarily I don't think it is correct to use 'high handedness of a critic' because ideally if one is in that position one should just be true to the work. And ideally being judgemental with preconceived notions will not be correct. Being humans, 'ideal' is what we want to achieve but we have to strive for it. Hence I will be able to share my critical opinion with the artist if I personally feel comfortable but writing a review in any media would be a conflict of interest as long as I m a performing artist too and I feel it will be ethically incorrect. I would definitely invite other performers as observers and would like to hold meanigful discussion directly with me. - Anuradha Venkataraman
I have invited some senior dancers or connoisseurs to review my rehearsals to get reviews and feedback.So I would do the same when I am asked to observe. Not being judgmental is a bit tough! It's instinctive to create judgement in our heads but we must diligently arrange our thoughts and consider the artiste's age, experience, style and involvement in the art form; and then give a good review. I won't have the singular approach as of the critic as i might put myself in the artiste's shoes and think before reviewing them. And of course I would invite the young performers to my shows. They are so aware and have a different approach from me. Ideas and presentation are evolving so it is important to constantly engage with young artistes. - Radhika Ramanujam
With regards to having other young dancers as observers- much younger ones come as fans and are star struck. They are either too scared to correct us or don't know the art well enough to do so. Young dancers (my age) are always invited, they always come and they always say I did well. Nothing more, nothing less. What is the use? What are they afraid of? That I will get better? Or that I will reply, 'thank you for your opinion, but you can buzz off now'? I brim with pride when I watch a peer do well since I feel dance is in good hands. But I can count on one hand the number of dancers who share such a sentiment. When jealousy, unhealthy competition, shoving another for personal gain seems common, how can one even feel like giving feedback?
I personally feel that a constructive criticism is very essential for the growth of a performer. I always stay neutral when I am at a performance and give the first hand information to the dancer herself. Inviting young performers for my concert, is something I don't mind doing it. Anyone who has a good knowledge on dance and understands what I am trying to tell through my dance can surely review my performance and give feedback. At our festivals, if someone were to review a performance, publishing it depends on the performer's willingness. But, if the feedback is about the organizers and about the organization, we will permit them to publish it. - Radhika Shetty
In my opinion, every performance has some lesson to teach. As an artiste, I think, more that just 'watching' the performance, it's certainly important to 'observe' it with an open mind, shunning all temptation to criticise. It might also be beneficial to analyse the performance to an extent. But, beyond all that, 'experiencing' the performance and travelling with the artistes on stage is what I most value. Reviewing and relishing the journey that the performance took me through is my version of critically viewing a performance! - Harinie Jeevitha
As a person, my answer would certainly be a 'yes'. Although any dancer of this era would agree with the proposition of being viewed critically as well as being able to voice out an honest review of another artist's performance, the real challenge is the lack of space and conditions to voice them out. Dance observation is not a personal value to be inculcated but rather a collective effort of dancers. We need forums where we can truly speak out opinions which are substantiated with the parameters you had in mind to arrive at them. - Karuna Sagari
In the previous articles of the series, I examined the relationship between artiste and critic- through the eyes of both.
"In contemporary times it is difficult to find constructive criticism and at the same time artists are not able to take criticism in the true sense.Very few critics probably understand the nuances in detail to give an unbiased opinion or criticism. Dancers being over sensitive, sometimes egoistic,are not able to digest the criticism and so they create their own barriers.It is unfortunate that today dancers lead a superficial life.I feel today young dancers must be strong enough to face the constructive criticism in the right perspective and improve their knowledge about the dance and also their performance so that they are well equipped for these criti
cisms.On the other hand the critics should be genuine in their criticism who know the art-form in-depth to analyse any performance."- Dr. Uma Rele.
In the current article, I place the very journey of artistic growth under the scanner and look at it through the 'critical' glasses of fellow artistes. I propose what could be a possibility. By engaging the artiste and fellow artiste in a critical analysis of performance, would it possibly open up the dialogue between art and artiste a bit more? If one were to open up an analysis and feedback session with fellow artistes post every performance and follow it up with critical reviews in media, would it add value to artistic growth? If we are to bring the fellow- artiste into a performance, we cannot bring them in as critics because they would not have the experience and knowledge that are the basic requirements of a critic. So for the majority of younger artistes who are yet to gain the necessary experience, can we create the possibility of being an "Observer" at a performance. Would young artistes make objective observers, in the first place? If having come in with an objective mind, would a young artiste be able to articulate their thoughts on the performance logically and objectively without judging the 'artiste'? Should we encourage a trend of publishing 'observations' in the 'Review' section of print and online media? Does one run the risk of the young artiste being intimidated by the artiste/Guru/star on stage and fall short of publishing an honest opinion? Would we also run the risk of creating a generation of 'know-it-all' Observers who may lose objectivity down the line?
In every possibility, the gains and risks stare at us in equal measure and so to gauge what artistes themselves feel about this trend, I asked them this:
If I were to invite you as an observer to a performance, would you be able to critically review the performance without being judgmental and having the (perceived) high-handedness of a critic? Alternatively would you invite young performers as Observers to your performance?
Primarily I don't think it is correct to use 'high handedness of a critic' because ideally if one is in that position one should just be true to the work. And ideally being judgemental with preconceived notions will not be correct. Being humans, 'ideal' is what we want to achieve but we have to strive for it. Hence I will be able to share my critical opinion with the artist if I personally feel comfortable but writing a review in any media would be a conflict of interest as long as I m a performing artist too and I feel it will be ethically incorrect. I would definitely invite other performers as observers and would like to hold meanigful discussion directly with me. - Anuradha Venkataraman
I have invited some senior dancers or connoisseurs to review my rehearsals to get reviews and feedback.So I would do the same when I am asked to observe. Not being judgmental is a bit tough! It's instinctive to create judgement in our heads but we must diligently arrange our thoughts and consider the artiste's age, experience, style and involvement in the art form; and then give a good review. I won't have the singular approach as of the critic as i might put myself in the artiste's shoes and think before reviewing them. And of course I would invite the young performers to my shows. They are so aware and have a different approach from me. Ideas and presentation are evolving so it is important to constantly engage with young artistes. - Radhika Ramanujam
I am not sure if it is right to term critics as high handed. I was taught by my Guru and parents to accept criticism and improve. My araimandi is what it is today only because of S N Chandrashekar. My drishti bedhas were corrected by Lochana Saralaya and my posture and stance was corrected by a random layman at Ram Mandir in Malleswaram. One or two of my peers still give me excellent unbiased feedback and I rely heavily on their opinions, as they do on mine. What I feel is high handedness however, is when self proclaimed critics act like divas and demand for money, honouring on stage and other glorifications when they have to Google and find out what a varnam even is! They are the doom for dance and art and must not be encouraged.
With regards to having other young dancers as observers- much younger ones come as fans and are star struck. They are either too scared to correct us or don't know the art well enough to do so. Young dancers (my age) are always invited, they always come and they always say I did well. Nothing more, nothing less. What is the use? What are they afraid of? That I will get better? Or that I will reply, 'thank you for your opinion, but you can buzz off now'? I brim with pride when I watch a peer do well since I feel dance is in good hands. But I can count on one hand the number of dancers who share such a sentiment. When jealousy, unhealthy competition, shoving another for personal gain seems common, how can one even feel like giving feedback?
- Shilpa Nanjappa
I personally feel that a constructive criticism is very essential for the growth of a performer. I always stay neutral when I am at a performance and give the first hand information to the dancer herself. Inviting young performers for my concert, is something I don't mind doing it. Anyone who has a good knowledge on dance and understands what I am trying to tell through my dance can surely review my performance and give feedback. At our festivals, if someone were to review a performance, publishing it depends on the performer's willingness. But, if the feedback is about the organizers and about the organization, we will permit them to publish it. - Radhika Shetty
In my opinion, every performance has some lesson to teach. As an artiste, I think, more that just 'watching' the performance, it's certainly important to 'observe' it with an open mind, shunning all temptation to criticise. It might also be beneficial to analyse the performance to an extent. But, beyond all that, 'experiencing' the performance and travelling with the artistes on stage is what I most value. Reviewing and relishing the journey that the performance took me through is my version of critically viewing a performance! - Harinie Jeevitha
As a person, my answer would certainly be a 'yes'. Although any dancer of this era would agree with the proposition of being viewed critically as well as being able to voice out an honest review of another artist's performance, the real challenge is the lack of space and conditions to voice them out. Dance observation is not a personal value to be inculcated but rather a collective effort of dancers. We need forums where we can truly speak out opinions which are substantiated with the parameters you had in mind to arrive at them. - Karuna Sagari
I sign off with this...The possibility of the 'Observer' is open for further discussion. Write in to us with your views and opinions.
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