Post Modern artists in Performing arts

- Aaditi Laxman Kulkarni, MPhil (Bharatnatyam)

Research Scholar, TDES Research Centre,

Tiruchirappalli.

Abstract:

A detour from the modernism, postmodernism can be seen as an all-encompassing movement

in the arts, philosophy, architecture, science and literary criticism. An attitude of scepticism,
irony or rejection towards the meta-narratives of postmodernism was also highlighted in the
performing arts. From the period of Sadir and Devadasi tradition, the dance itself was an
innovation. Dance has got various new aspects in areas such as format, performance,
compositions, makeup, costumes, stage, and music by discarding the overly pretentious and self-
serving views of modernism, postmodernism paved the way for dance forms with a new
approach. The likes of Mrinalini Sarabhai, Geeta Chandran, Sonal Mansingh, Astad Debu,
Vaibhav Arekar and many more made sure that art took a leap forward in order to reacquaint
with the society.

This paper aims at showcasing such visionaries, artists, practitioners and some of their prominent
works through an accented postmodern outlook in the field of classical dance.

Literature Review:

Every art form provides peace of mind and beauty to behold. Indian history can be
witnessed with the help of various cultures, traditions, and art forms. Among all these arts has
been divided into three different eras which are popularly known as premodern, modern and
postmodern. The artists who belonged to these eras are well known as modern artists and
postmodern artists. The likes of Anna Halprin, Robert Dunn, Rukmini Devi Arundale, Uday
Shankar, Ted Shawn, and Merce Cunningham have put light on the possible contextual
implications of postmodernism in performing arts, especially dance. But their pragmatic
illustrations encompass really broadened view. Postmodern era is the golden period in which
most of the noticeable changes occurred. The artists belonging to the period have settled a new
notion for performers, composers and audience in the field of performing arts. Like other cultural
phenomena of the time, it was a rebellion against traditional thoughts, ideas and assumptions.
This movement planted seeds for new genres of artists in dance and performing arts. This
research paper owes a major part to the observations of the artists and their working manners in
the society. These observations have been analytical through the viewpoint of a performing artist
in the field of classical dance.

The Concept for dance and artists in Modern Period:

 Male artists’ dominant art form.

 People were bounded by different sets of rules which they had to follow to be termed as
artists.
 It was also a driven notion that art is goal oriented and people tend to forget the main
aim.
 Both dance and artists had political and social pressures.
 Contemporary term is introduced only according to its meaning.

The Concept for dance and artists in Postmodern Period:

 Both male and female artists perform.

 Accepted normal mess and chaos.
 Started thinking and taking art as a source of expressing themselves.
 Free from any pressures.
 Started questioning changes and moving towards new ones quickly.
 People used to deduce ideas according to their wish and made their mind.

Postmodern artists: Case Study

Several artists created their immortal identity in the field of performing arts just because of
their out of the box thinking. Let’s have a look at few of those artists –

Mrinalini Sarabhai: She is the Pioneer among those who gave Indian Classical dance its
respectability once more and showcased its magnificence in India and the world. Her
introduction given by Mallika Sarabhai, “Her spirituality is something she wears all the time and
never takes off. This spirituality can be seen in her writing, behaviour, performance, talks & all
the activities she did.”

1. When she started dancing, dance had just come out of temples where the space for dancing
was inadequate. Many of her contemporary works continue to reflect in the Bharatnatyam on
stage covering only the centre. One of her innovations was spreading out the dance stage,
making it wide, filling the stage and making it broad so that the stage got covered and audience
could see much larger, much more expansive form of dance.

2. She brought her own vision of contemporary art form. If we look back to her works like –
“Manushya”, “Meera”, “Memory”, “Suicide (1969)”, environmental issues and their
interpretations, we find it very contemporary. With this, first time in Indian history she started
using the medium of classical dance to express social issues. An editorial in the Indian Express
called it the first experiment in the dance that spoke boldly of a social evil that haunted women
everywhere (1971).

3. She mastered the dance technique and also had a thought process with it. Her focus was on the
nation-building activity of using that technique in contemporary situations and the environment.
She had started performing just for the purpose of her contribution to the society and the nation.

4. Whatever it may be; her choreography, music, mode of presentation, costumes, lyrics or an
ideal contemporary thought process given by her is itself postmodernist, which is a reaction to
modern thoughts and traditions in the performing arts. For example; she has used sollus and
sapta swaras as the mode of communication/ language in her productions as the audience got
conveyed through only dance movements and facial gestures.

5. She has broken all the notions of higher and lower cultural hierarchies by learning male
dominant dance form Kathakali and set the new milestone for upcoming artists. She became the
first woman ever to learn all male styles of Kathakali and later on implementing masculine
gesture along with feminine gestures in her dancing style to establish a new platform for all
dancers.

Rukmini Devi Arundale: A Vibrant visionary and pioneer of all Indian classical dance
styles. She had modified mainly Padanallur style of Bharatnatyam and brought it to Global
attention. She had removed extraneous Shringar and erotic elements from dance of romanticism
from a premodern and modern period which were a legacy of Devdasis association in past,
thereby raising it to the status of a puritan art form. She had changed the very face of the dance,
by introducing musical instruments like violin, lightening design elements, innovative costumes
and jewellery inspired by the temple sculptures.

Choreographic changes, for the productions she had chosen dance-dramas based on Indian
Epics like Valmiki Ramayana, Jayadevas Gita Govinda, Sita Swayamvaram, Shabri Moksham,
Rama Vanagamanam, Paduka Pattabhishekam, Kutrala Kuravanji, Kumara Sambhavam, Usha
Parinayam etc. and approached noted gurus, scholars, classical musicians and artists.

Sonal Mansingh: One of the most talented and passionate Bharatnatyam and Odissi dancer in
the history of Indian classical dance. Most of her compositions and choreographies were often
uprooted in Indian Mythology, though she also explored contemporary topics such as women’s
issues and environmental issues.

Her way of expressing her contemporary thoughts was her dance. She has explored all her
views about life through her productions and those are; Indra dhanushya, Maanavta, Sabras, Devi
Durga, Aatmayan, Mera Bharat, Draupadi, where Aatmayan - a combination of stories,
illustrating the power of inner spirit. It also emphasizes social inequalities and other important
subjects like caste, creed, and religion.

Maanavta - For the first time ever, prisoners of Tihar jail were given adequate training in order
to perform along with her. She taught them the true spirit of living through her dance lessons.

Sundari – A Bharatnatyam Performance, highlighting the feminine grace and beauty. Modern
view expressed in Sundari, made it Famous.

Mukti – A detailed dance drama which aimed at conveying to its viewers that everyone can be
liberated from their physical pain and woes while still being pretty much alive. It went on to
break the age-old belief that liberation can be attained only after a person sheds his/her mortal
coil.

Uday Shankar: Well-known artist for his skills in creating fusion dance form. His dance had
imbued with elements of folk, classical, tribal and European theatrical techniques. He did not
have any formal training of Indian classical dance forms. Nevertheless, his presentations were
creative. His collaborative work of “Radha Krishna and Hindu Wedding” with Anna Pavlova,
had become very famous and been appreciated by Indian audience.

Vaibhav Arekar: He belongs to new generation of intense dance artists whose art and life is
guided by vision of promoting, producing, projecting, classical dance as contemporaneous art.
All his dance works reflect distinct contemporary sensibilities yet are rooted in classical idiom.
His concept leads to genre of work. According to him, “Choreography is inner calling”. Hence,
he dances to experience the romance of movement to reach pinnacle of intoxication where
realization fails him. His repertoire consists of dance works of ranges from traditional to classical
contemporary solo ensemble work. Samyak, Bhaktibhava, Nachu Kirtanache Rangi, Ritu
Shringar, Manush Biradari, Mukti, Shiva facets of him, Narmade Har, Shriman Yogi are his
famous productions.

Conclusion:

Art is a sensitive matter in which people can connect with the things they haven’t before.
Performing arts remained the mode of self-expression in each era. In comparison to premodern
and modern period, postmodern art forms flourished under no pressure. This paper brings lime
light on

1. The postmodern stage of artists, which emphasizes their mind set of expressing their
views, and how it influenced the audience, society as complete freedom had been
provided to artists for their contemporary thoughts creativity, costumes, music, style and
their approach towards the performing arts.
2. The challenges that are given to earlier trend of performing arts, and its establishment in
new generation without any barriers.
Overall, the paper describes dance artists of postmodern era and gives clear
understanding about major differences that had been taken place in it.
References:

Attendance: The Dance Annual of India 2016-17

https://youtu.be/MBPhSeDvtoo :“Sonal” - Documentary by Prakash Jha-2002

https://www.youtube.com/watch?v=ts2Ww5IYiCs

https://www.metmuseum.org/toah/hd/pmin/hd_pmin.htm

file:///C:/Users/Dell/Desktop/potaznik_thesis.pdf

Shodhganga@inflibnet.ac.in

www.ukessays.com

www.culturalindia.net