The Artiste and Collaboration

Much has evolved with the format of the classical dance performance. From being essentially a solo performer's arena, it moved into group performances and dance ballets- with Gurus often presenting their disciples in a choreographed group performance. Over the years, both solo and group performances have thrived in their own ways and both formats are equally popular today. Within the framework of the 'Group', recent years have seen the rise of an interesting phenomenon- that of the collaboration. In decades gone by, collaboration between artistes was not absent- but was a rare occurrence. In recent years, both organisers and artistes themselves have been enthusiastic about encouraging collaborations. These could be between artistes from different schools of the same dance form or different dance forms completely. Collaboration could also be a one-time experiment or may grow into a long term association. Either way, collaborations seems to be an interesting confluence to examine.

For every artiste who hones their skills under a Guru, years of training condition you into a certain method - a method that is evident in the way you practice, ideate, choreograph and move on stage. So, bringing artistes from different schools onto a single canvas can either result in a fascinating collage of different thoughts and movements or it could collapse into a splotchy chaotic mess. With each artiste walking into a collaboration with a unique perception, identity and technique, the line that separates the collage and the chaos is a rather thin line. A collaboration like this to be successful requires artistes to be in sync in the creative space. Once this occurs, it is easy to blend in different movement vocabularies. When different genres of dance are involved, there are two ways to look at it. One- since the grammar of each form is different, there is much more variety of movement to choose from. Two- since similarities are few, there is lesser overlap of grammar and hence the artistes have a restricted choice of common movement. To find a perfect balance between different genres is much more difficult than it seems. Very few have been successful in this manner.

On yet another level, I look at collaboration as a tool to encourage artistes to look beyond themselves and their own persona on stage. Can collaborations remind us that the art is bigger than the artiste? In a time where performers tend to get warped in their image of self on stage, can collaboration help break away from egoistic tendency? Two collaborations in Bangalore catch our attention. The Tandava Ensemble consists of 4 male dancers- each coming from a different background of training in Bharatanatyam. They first performed together at an alumni programme of the Natya Institute of Choreography and soon after received invitations to perform at other festivals. Thus was born a collaboration, very different from a dance company. "Each one of us comes with our strengths and we try to hone in on these. There is absolutely no hierarchy within the group, so decision making has been democratic and will continue to be." says Karthik Datar. His colleagues include Somashekhar, Ananth BN and Srinivas R. "Every conviction is translated on stage so being in a comfort zone of complete understanding with each other definitely is important."  Natyasallapa is yet another unique collaborative process that could become a model for many practitioners of classical dance across the country and elsewhere. "We came together not as a performance-oriented group but more as a group of serious practitioners of dance who would practice together and exchange ideas, give critical feedback and learn from each other." Natyasallapa is a collaboration of 6 dancers- Prathibha Ramaswamy, Gargi Panchangam, Ramaa Venugopalan, Radhika Ramanujam, Anuradha Venkatraman and Roopasri Vittal. The absence of hierarchy, even informally seems to be a common thread running in most such collaborations. As peers, artistes in collaborations come together more cohesively because they understand that freedom of expression must be encouraged and want to celebrate the differences that each one brings to the group. Finding middle ground calls for a maturity that goes beyond personal glory. Finding middle ground in collaborations also means that individuality is valued - an aspect that may not be present in dance companies where hierarchy is distinct and individual contribution of dancers may not be evident.

Would the presence of a neutral mentor enhance the creative output of such collaborations? "We do reach out to senior artistes and Gurus for advice but we have resisted the idea of having a mentor because that may bind us into accepting their feedback over-riding our own creative conviction. That is a freedom that we are not willing to let go off. What we do engage in is a constant feedback process with senior artistes sitting in our audience. We find this to be a process that is Win-win." says Team Tandava. This is a thought that finds an echo with Natyasallapa too. "We are critical enough of each other ... We revel in the differences that each of us brings in- to listen to just 1 external viewpoint would defeat the purpose of 6 different perspectives coming together ... this is meant to be a journey of self-discovery and maximising our potential."

Do collaborations over time become insular groups or are members open to collaborate with other such groups? "As long as wavelengths match and compatibility seems possible, we are open to it definitely."

I bring another perspective into this theme. Dr Sunil Kothari is an internationally known dance historian, scholar, author and critic. He was dance critic of The Times of India for more than 40 years. He has 20 books on Indian dance to his credit. He has received the civil honour of Padma Shri and SNA Award and is also Ratna/Fellow awardee.

1.   When artistes of same genre/style of classical dance collaborate on a project, do you think a certain amount of hierarchy is essential in collaborative projects like the hierarchy that exists in a dance company?

It depends upon the mutual understanding and respect for each other. The hierarchy that exists in a dance company helps artistes to maintain certain dignity and discipline. When two companies decide for jugalbandhis, that project needs clarity from the beginning. If there is a clear understanding, then the two companies should abide by that understanding and work towards a common artistic goal.

2.   Collaborations mean to break the insularity of groups. Does it

 run the risk of homogenizing uniqueness of Individual dancers?

Not necessarily. Insularity of groups may be a result of mistaken notion of superiority. Individual dancers need to maintain homogeneity for group production. If it is a dance- drama, and a particular dancer is given a particular role in which he/she excels then his/her individual quality would help establish the role better. For example, take Kalakshetra’s (Chennai) dance- drama productions choreographed by late Rukmini Devi. The Bharatanatyam technique is of high quality. But within the dance-drama, for example, the role of Hanuman played by Balagopal always stood out and the uniqueness of the individual dancer was maintained.

3.   How do you foresee this current trend of collaborations in the age of freelance dancers, dance companies and groups overseen by Gurus? 

 As we all know dance as a profession does not pay. There is constant investment; one has to pay from one’s own resources. The artistes and companies have to depend upon assistance from Government agencies. If one is lucky, if funds are raised and are received, the project materializes.

In such circumstances groups decide to collaborate. They collaborate for novelty. Solo dances will survive, but the organizers want group works mainly for variety. Freelance dancing in a way for male dancers has been a boon. Well trained male dancers find support for themselves if they get an opportunity to perform. The overseeing by the Gurus helps in maintaining quality of the production with choreography. This trend will continue with the reducing space for solo dancing. Several dance festivals invite group dancing, such as the Konark Dance Festival, Dhauli Dance Festival, Khajuraho Dance Festival, Nishagandhi Dance Festival and Purana Quila Ananya Dance Festival. Also there has been a trend of productions with different dance styles/forms. They are not necessarily of high standard, but serve the needs of dance festivals. The dance companies and groups have to survive. Therefore collaborations would remain as a need.   

4.   Many artistes find themselves in need of projecting their prowess at every given opportunity. In such a scenario, the artistes tend to become bigger than the art. Is the art then served in bringing together artistes under a common project or would individual egos override such dreams?

 It is a human weakness, frailty to show one’s power and exploit the situation. It is true that the artiste tends to become bigger than the art. Individual egos are deterrent to art projects. It does not help if an individual artiste does not understand or value art. Under a common project if one attempts to bring artistes together, it has to be understood by participating artistes that they have to surrender their egos, if a project has to materialize. The dreams of artistic projects have often suffered on account of egos overriding dreams. Only few senior choreographers have succeeded.

5.   Your overall opinion on collaborations between genres (jugalbandi) and same style collaborations?

It was in early seventies that in Mumbai during Swami Haridas Sammelans of Sur Singar Samsad festivals, jugalbandi in dance between two dancers expert in their own individual dance styles was attempted. I recall that jugalbandi between Roshan Kumari in Kathak and Kum Kum Mohanty in Odissi, Sanjukta Panigrahi in Odissi with Sunayan Hazarilal in Kathak, were attempted. Later on I saw jugalbandis between Leela Samson in Bharatanatyam and Madhavi Mudgal in Odissi, between Sanjukta Panigrahi in Odissi and Padma Subrahmanyam in Bharata Nrityam.

When two artistes of different styles/forms are good with their command over laya and tala, and find common elements to compliment these elements, jugalbandis succeed. But in the end  simultaneous abhinaya presentation does not gell. In case of same styles jugalbandis, an element of competition enters and unless both artistes have mutual respect for each other, often such jugalbandis do not result into an artistic experience. Collaboration between artists of the same style is welcome with an understanding that they are aiming at an artistic event and not showing off their superiority.