Dance Education - the wisdom of Folk

 Dance Education is a series of articles that will focus on various aspects of the teaching-learning environment, methodology, practice and more. Bringing together varied perspectives from across regions,  ideologies and styles, we hope to encourage an active dialogue about what one might consider to be one of the most significant links between the performing arts and the world at large - the teacher and the taught.

The classification of dance and music into 'classical' and 'folk' has often come under scrutiny. The basis of such a distinction is sometimes beneficial and sometimes not. The purpose here is of course not to debate the need or not for this distinction but to blur the boundaries so that we may be able to borrow from one pedagogy into the other. It is commonly assumed that classical arts are marked by a disciplined technique that requires structured teaching methodology. On the other hand, one is quick to assume that folk arts are imbibed in a familial or community setting - one where a child is not particularly initiated into training but rather learns experientially by living with the artistes and imbibing the art form through constant connect. This remains true for most folk arts and artistes across the country. But this does not mean that technique is any lesser. Every art form is marked by several unique characteristics. Influenced heavily by geographic, political and cultural settings through which it has been passed on, the weight of content that it carries is often undermined. From entertaining all-night audiences to sparking off critical debates, the folk arts seem to cover a rather large spectrum of social engagement. If the purpose of art is to engage with society at large, there is no larger canvas than the folk arts. It is therefore worthwhile to study the pedagogy (or the lack of it) within the folk arts and understand what aspects of it can inform our current understanding of the pedagogies that we inherit or follow.

Thilagavathi is the first woman Kattai Koothu artiste of the country. Kattai Koothu for the uninitiated, is a theatre form with origins in Southern India. The name derives from "Kattai" which means wood because all ornaments worn by the artiste are made of wood; and theatre forms are referred to as 'Koothu' in the Tamil language. Kattai koothu dramas are all night musicals presenting stories from the Mahabharata. Over the years, artistes have diversified the content into exploring narratives of social significance too. Kattai Koothu has been an art form practiced primarily by men. 

Thilagavathi's father and uncles were Kattai Koothu artistes, carrying their art with them to places near and far. Thilagavathi grew up absorbing the art as it tempered most conversations at home. But her own tryst with the art form as a performer began when she was a mere 11 years old. P. Rajagopal had just opened an Institution to teach and nurture the art form and asked Thilagavathi's father to send her as a student. With change in times, the informal teaching and learning needed replacement by structured ecosystems - primarily to nurture art forms that were facing extinction. In the years that followed, Thilagavathi's carefree beginnings grew into a focussed discipline. She went on to train in other theatre forms from across the world so that her body of work within Kattai Koothu was informed in many ways. Today, Thilagavathi runs a dance company in her village in Ranipet distrct in Tamil Nadu. She trains young children through evening schools and tours with her company.

Sarath is an official with the Airport Authority of India. He also wears another hat- with much pride- that of a Silambam artiste and teacher. Silambam or Silambattam was traditionally a technique of warfare, that eventually came to be displayed as a martial art. Initiated into Silambam training at a young age, the technique, as in any martial art, requires dogged determination and discipline of the body and mind. Silambattam is essentially a craft of the staff- the control of it and the methods used to inflict blows on an opponent. The rules of Silambattam have changed too over the years. Today, the performative aspect has superseded the ability to deliver powerful blows. 

Both Thilagavathi and Sarath are today flagbearers of art forms that need much revival. They also represent a community of artistes who are eager to bring cross-functional knowledge to propogate the art form and inform their teaching methodology. At the same time, there exist several thousands of communities that nurture their indigenous songs and dance without a second thought to words that could roughly translate as 'pedagogy' or 'training'! How do we derive from such environments into our own- are there sublimal or hidden methodologies that are probably not articulated and hence we do not see it? 

For starters, let us begin with the macroscopic elements. Many folk arts bring together spoken word or dialogue, song and dance seamlessly. In many classical art forms, these three elements are divorced from each other - even at the educational level. How does one bring the spoken word element into the classroom in a way that it aids Abhinaya practice, considering that 'abhinaya' itself is rarely taught and rather develops over long rumination. Can this be used as a tool to initiate the young into emoting? Can this be used to supplement abhinaya practice for the novice performer? 

A second element that could inform the practice of the classical art is to draw from the rhythmic elements of folk arts. Rhythm is integral to all arts and to understand the source and structure of rhythm n various genres brings new flavour to one's practice and performance technique. 

A third is the vigour and spontaneity of the folk arts that needs to be needled into the classical arts. To be able to break away from rehearsed renditions calls for a long period of assimilation. Also, the teachers must downplay the need to execute and promote the need to experiment and extrapolate in every class. This is especially required for the student who has had a few years of engagement with the art and is eager to take it further. Much of the spontaneity of the folk arts comes from their constant connect with the 'now'- one which students of the classical arts must be encouraged to do. Classroom discussions and expression should make it possible for the young student to use their grammar to connect with the society around them. It is only then that spontaneity becomes true in every sense.

The three elements I mention above are but a few of the several that we can take from. What this is meant to do is to spark off interest in inter-disciplinary understanding of the arts- both for the love of it as well as a means of informing one's own teaching-learning environment.

I am grateful to Ms. VR Devika for her inputs with regard to the folk arts as practiced in Southern India.

Published in Ananya Kalasinchana March2021. Do not reprint or publish in part or full without permission from the Editor.