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| traditional krithi, may not serve the purpose in that form to render a romantic song. However the fine arts have a tendency to follow partly the path of tradition and partly the path of prescriptions of the texts. The music and dance may generally was such prescriptions of the texts, which have universal application and match the moods of all times and places and come up with presentation. For instance, the same Kalyani moorchana is made suitable to render the lyrics, "Thotalo naa raju" through the lips of a historical character or a modern song like 'paluka radhatay chiluka'. But for traditionalist, to term the scale of "Paluka radhatay chiluka" or any such novel presentation as Kalyani may look ridiculous. For him the mere notations - moorchana alone will not constitute the Kalyani raga. It should also be accomplained by the Graha Nyaasa Amsa notations as also the |
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grace - Gmaka, unique to that scale to make the raga complete.
It is enough if we remember that a creative presentation is possible without a nomenclature attached to it. Dance and music have universal appreciation. The connoisseur is after the rasa and the medium and to a limited extent, the subject. The Mudra-s hand gestures, of classical dance have specific meaning and purpose, which are suitable for a mythological subject. They may not have any significance in the day-to-day existence. Apart from conveying a specific meaning, the mudras are presented with grace and a sense of aesthetics, to make it different fro the hand gestures of the hearing impaired.
The solitary rasa that is of paramount interest in a dance recital these days is Shringara - the love of the hero and the heroine.
The position of the
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dramas is different in that they have a duty to run the whole gamut of emotions - the nava rasa-s, depending on the story presented. The traditionalists of dance, taking into account their experience, should take necessary steps to make the medium responsive to the changing times. This is an essential sign of evolution true of all forms of fine arts. The sentiments and human emotions are the same whether it is a mythological or a modern character. The mode of expressing them may be different. The subject of Satyabhama's sulks or her love affair is undoubtedly appealing and enjoyed almost every time it is presented. But to note that no attempt is made to project similar feelings of the modern day hero and heroine makes a sad reading. However it may be emphasised that what is needed is a revolution in form and content and not in content alone. |
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The popular medium of dance, as it was already mentioned is a combination of other two popular fine arts, namely music and literature. The traditionalists of dance with the necessary application of mind will be able to come up with an exquisite, perfectly delectable, ideal form of dance with a scope of modern day applications. The response of the dance directors, some of them with traditional background, in the field of cinema, where they are expected to apply the medium of dance to modern day situations, the joy and happiness of the hero and heroine, is more like an organised drill class or military parade especially in the usage of hundreds of group dancers.,
Whatever attempts are made by them to modernise the dance form is tune with changing time and moods of the modern man, are within the sphere of cinema having limited appeal,
may be called as mass
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appeal. The cinematic modernisation of traditional form of dance has into appeal to the elite. It is therefore incumbent on the traditionalists to shoulder the responsibility to create a new modern dance form with all necessary characteristics of the traditional form and yet to take care of the emotionally dispositions of modern day characters.
(This article was first published in the book "Kuchipudi Mahotsave '96)
MUSIC AND DANCE IN TEMPLE PLAY (YAKSHAGANA)
(The author is a poet, musician and playwright based in Vijayawada, A.P. 'Rajani' the pseudonym he adopted for the All India Radio, becomes a by word among Telugu listeners for his wonderful lyrics, musicals and Yakshagana. He has set many of his own compositions and that of others to music; which are very popular. He is the recipient of the
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Central Sahitya Akademi Award in 1961.
The coveted nippam Hosso Kyorai award from Japan besides other honours. He is a prolific writer with several publications in Telugu and English in his credit.)
RASA NRITYA in "GAATHA SAPTASATHI"
The following Prakrit verse from Gaatha Saptasathi depicts a pleasant encounter of the Gopis with Lord Krishna, after completing the performance of "Rasa" dance:
(Prakrit) "Nachchana Salaahana nihem paasa parisanthia niunna govii Sarisa goviyaanam chumbaii Kavola padhimaagayam Kanham"
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