1  Should Odissi be performed in public places?  

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Should Odissi be performed in public places?

Dr. Rohini Dandavate

I have often been invited to perform Odissi dance in public spaces e.g. on the

lawns of Universities in Ohio, or on the fair grounds as a part of annual city fair,

or a city folk festival. I choose not to participate because the venues and context

were not apt for a classical dance performance. I felt that presenting the tradition

of Odissi dance in unconventional settings would lead to it being categorized as

one of the “exotic” or “folk” or “popular” art forms. I appreciated the enthusiasm

of the event organizers intention to showcase an unfamiliar art form to the

community but I wished they would be sensitive in understanding the context and

meaning of diverse art traditions and practices, especially in the present era

when information is accessible at the click of a finger. However, these

experiences motivated me to look for suitable opportunities in educational

institutions and in the community wherein I could share my art with students and

people in an ambience where they could experience my art and understand the

meanings and ideas embedded in it.

As an artist in residence in the Ohio Art Councilʼs Arts learning Program I learned

how the arts were integrated in the regular school and college programs and I

started work on innumerable projects in educational institutions and in the

community to help build awareness and understanding of Indian dance traditions

and Indian culture. However, since I continue to see dancers present in pubic

spaces, I was motivated to post this point for discussion on Face Book to seek

the views and perspectives of other dancers, dance instructors and dance lovers.

My Face Book post was as follows:

Sharing a thought re presenting Odissi dance on streets, parks, railway stations, roads and other

public spaces. The Gurus who reconstructed the dance form worked towards adding

sophistication and finesse making it a classical dance form. Unlike so many popular art forms,

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which were spontaneous expressions of people for merry making, Odissi dance evolved as a

expression of spirituality. So are we taking it back to the streets and other public spaces in the

name of building awareness of the form? If so, do we see other classical art forms like Ballet,

Symphony or Opera being performed on railway stations or on the roads for a similar purpose?

Just wondering and would like to know your perspectives friends.

This post received 17 responses and 32 likes. Four participants in the discussion

group found public spaces inappropriate for an Odissi dance presentation while

12 participants were in favor of presenting it in public spaces. The complete

responses are given at the end of this paper.

The three participants who expressed concern hail from Odisha, the

State in which Odissi dance originated. Deeply connected to the

culture, cultural traditions and ideas embedded in the dance, for

them Odissi dance is an “act of worship” and not just a performance

experience. Sumitra Mohapatra, a leading Odissi dancer wrote,

“we as Oriyas our dance form is a offering to Lord Jagannath. the tahia is a symbol &blessing of the lord—it is the last piece of jewelry to b put --that was always put by guruji himself—it used to be put in front of Lord Jaganath and we dancers went on stage with the blessings of the Lord himself and Guruji. It is still the same spiritual dignity and performed as an offering to the Lord & the audience are a part of it”.”.

This response suggests the purpose of this dance tradition and the process of its

presentation. For the Odiya people, Odissi dance in the temples or on the stage

is a medium to present the narrative built around the ritual, implying significance

and meaning. Similar to this view, Dr Narayan Menon, while discussing the art

forms of India in the article, The Performing Arts – A Definition, wrote,

In the highest concept of Art in India- whether it is music or dancing, painting or sculpture or architecture- Art is considered “a yantra”, an apparatus of worship not because of the text in a psalm or a hymn in which words make up a prayer. The music itself, the sound, nada, is the apparatus of

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worship as a Fugue might be. The creation of music becomes in itself an act of worship. And so with other arts. Dr Menonʼs adds, “Through it all one senses that religion, art, myth and ritual, are virtually indivisible”. (P.21. Aspects of Performing Arts of India, Marg Vol XXXIV No.3)

Dr Menon in the above mentioned paragraph explains the core

function of the arts, and the manner in which art ties the spiritual,

the aesthetic and the narrative. To emphasize the complex nature

of the classical arts in India, he compares the arts to Fugue, a

contrapuntal musical composition developed during the Baroque

period, with a basic structure consisting of a theme or themes

stated successively in different voices. The classical performing arts

are similar wherein the theme is expressed in a variety of ways.    

Therefore, keeping in view the main purpose of the dance tradition

and its complex technique, it was felt by the responders that a

public space might not allow the viewers to both understand the

narrative, the intricacies of movement and subtle nuances of the

form. The ongoing movement and sounds of public spaces would

make the dance more of a physical activity of visual appeal rather

than an experience of sublime joy and internalization of emotion.

Specifically since Odissi dance was one of the dance styles which

evolved from being a part of the ritual services in the temples, is

spiritual in essence and it is necessitates an ambience where one

can experience the devotionalism linked to the narrative and get

pleasure from the dance on all levels, devotional, emotional and

aesthetic. Overall, Odissi dance for some respondents is

representative of tradition, history, religion, spirituality and long

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established cultural beliefs, so the idea of watching it being

performed in public spaces did not resonate with their thinking.

Twelve other participants were in favor of watching and presenting this dance in

public spaces. The highlights of their views are: 1. The desire to experiment with an art form by presenting it in unconventional venues

2. Offer the passerby with an experience and feeling of wonder, joy & beauty. Take it to the

“man on the street” and let them discover the dance form

3. Allow a democratic platform for presentation and make it accessible to all instead of

select audiences. Dance for all is what makes such forms less elitist and there is a space

for the Rasika and the casual viewer.

4. Watching Odissi dance in unconventional settings might inspire people to want to learn

more about it. May be such displays / expositions at various platforms will create 'interest

or liking amongst the people / public.

5. Odissi should not be fossilized to be preserved for eternity.... It should be a growing

vibrant challenging space.... It's a praxis not a practice.

6. The intention, quality, aesthetic and commitment to the art form is what counts - the

venue is secondary.

7. As long as the dancer's intention is spiritual and does not trivialize the art form, the venue

doesn't make a difference. The dignity and artistry of the art form depends in the manner

in which it is presented and not in the kind of venue.

8. Parks and other open spaces have been used umpteen times in Mumbai. And people

have heartily welcomed and responded to these ventures.

It can be drawn from these responses that the purpose of presenting Odissi

dance in public spaces, for these respondents came from their desire to share, to

experiment, to educate, to provide an experience of wonder and joy at no cost, to

make it accessible to people from all walks of life in the community, and above all

take the dance tradition to a level where audiences can discover, enjoy the dance

form from their own lens and understanding, and choose to learn more about it.

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With these responses in view I would like to take the discussion further by

interpreting how presenting in unconventional venues can impact the process of

perception, and understanding of the dance form in people.

As a part of my doctoral study, I had the opportunity to study numerous

interpretations of the process of understanding and I compiled a grouping of

experience elements that are a part of the multi-dimensional and multi-sensory

process of “understanding”. The diagram given below lists the different elements

of understanding. Together these experience elements form the core

characteristics of human understanding.    

 

• Perceiving    

• Sensing    

• Becoming  aware  of  meaning  or  cause  of  something,    

• Knowing  

• Remembering  

• Reflecting    

• Experiencing    

• Retaining,    

• Comparing    

• Imagining/ideating  

• Interpreting  or  judging  in  a  particular  way  

• Inferring  or  deducing  a  meaning  of  something  new  

through  creation  of  mental  models  

 

Figure  2:  Elements  of  Understanding    

As the diagram suggests the process of understanding has cognitive as

well as sensory dimensions. An individual seeking understanding of an

experience has to achieve not only a logical rationale or explanation of that

experience at cognitive level but also an enjoyable sensory perception of that

Understanding

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experience at emotional level. The experience of watching Odissi dance in public

spaces, amidst the other sounds and activities of the street or railway platform,

can evoke an emotional stimulation in human consciousness and help form an

impression. However to facilitate a logical understanding it becomes necessary to

know more about the dance form. Hugh Woodworth in his book, “The Nature and

Technique of Understandingʼ writes, to understand “ is to evoke certain pages in

oneʼs own mind ” and “ a certain successful integration of pages”(Woodworth

P.116&117). In other words, for the person experiencing the art form for the first

time, the degree of integration of ideas regarding the art form may not occur

because of: inadequate information or description, inadequate prior association

and the short span of time. Appropriate descriptions, and information alongside a

full-length performance experience would enable the viewer in connecting with

past experience and relating to the new one by understanding the similarity and

dissimilarity in ideas thereby guiding the power of decision-making.

I would like to share another study conducted by Daniel Kanheman, a

psychologist, on how the brain is used to process information. In his book, Of 2

Minds: How Fast and Slow Thinking Shape Perception and Choice, he discusses

the two modes of thinking evoked by the picture of the angry woman and by the

multiplication problem. He refers to the two systems as System 1 and System 2.

According to him,

• System 1 operates automatically and quickly, with little or no effort and no sense of voluntary control. • System 2 allocates attention to the effortful mental activities that demand it, including complex computations. The operations of System 2 are often associated with the subjective experience of agency, choice, and concentration.

Seeing the angry womanʼs picture and reacting was an example of fast thinking

where participants of the study did not require to think longer to react or express

whereas on looking at the multiplication problem, participants required some

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thinking and understanding of whether one could solve it or what the probable

results could be, and decide if they wanted to engage in computing the answer.

The thinking process was slower and sequential in the second situation while the

reaction to the picture just happened with no stress. Kanhemanʼs inference was    

System  1:    as  effortlessly  originating  impressions  and  feelings  that  are  the  main  sources  of  the  explicit  beliefs  and  deliberate  choices  of  System  2.      The  automatic  operations  of  System  1  generate  surprisingly  complex  patterns  of  ideas,  but  only  the  slower  System  2  can  construct  thoughts  in  an  orderly  series  of  steps.    Source:http://www.scientificamerican.com/article/kahneman-­‐excerpt-­‐thinking-­‐fast-­‐and-­‐slow/

Daniel Kanhemanʼs systems of thinking present how understanding and meaning

making is also related to the time involved in the process. Odissi dance in public

spaces can in those brief moments of watching: • Provide a novel experience

• Provide a sense of wonder and joy at no cost

• Arouse curiosity

• Make the passer by aware of the form and

• Could be used as an experiment

In all, it will facilitate in forming a “mental impression” in the minds of the viewers

on the street. On the other hand, an Odissi dance performance in its defined

ambience with explanations will enable members of the audience at both the

sensory and the cognitive levels and help in comprehending the symbols,

meaning and ideas represented through the dance. This debate clarifies that

watching Odissi dance on the street or in any other public place would be like

seeing the tip of the iceberg and so it remains for the dancer to decide what he or

she wants to achieve.

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References

Woodworth, Hugh. (1949) The Nature and Technique of Understanding, The Wrigley printing Company Limited, Vancouver, B.C.

Bal, Meike. (1994). On Meaning –Making. Polebridge Press, Sonoma,

California. The Collaborative International Dictionary of English v.0.48

[gcide].(Online), Available: http://onlinedictionary.datasegment.com/word/understanding

Menon, Narayan. The Performing Arts- A Definition. Marg, Volume(XXXIV

No. 3), pp. 21.

Responses Received 1.Usha Srinivasan (Bharatnatyam Dancer) and I have to agree. I've seen two videos of Bharatanatyam dancers performing in train stations and sidewalks. In both cases the dancers were non-Indian and clearly enthusiastic to share their beautiful discovery with others. While their passion and intention are commendable, their choice of setting is not right 2.Tikli Meena Patnaik (Odissi dancer) If this is a classical form it should be left as classical. I know these days we call it fusion and this and that. But the respect and value of certain art form like Odissi should be left alone. It can be popularize without railway station, parks, etc as mentioned above. But again this is my personal thought, I can not force every body to agree with me. 3.Sumitra Mohapatra (Odissi dancer) me being a Oriya &a Odissi dancer a student of guru kelucharan --we as oriyas our dance form is a offering to lord jaganath --the tahia is a symbol &blesing of the lord--its the last piece of jewelry to b put --that was always put by guruji himself—it used to be put in front of Lord Jaganath and we dancers went on stage with the blessings of the Lord himself and Guruji. It is still the same spiritual dignity and performed as an offering to the Lord & the audience are a part of it. 4.Shabnam Samuel (Admirer of Odissi dance) However much people say that they would like to take an art form to the masses, certain things like classical performances be it in music or dance, cannot be taken to the streets. The origins

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of these forms have a history and a story to tell. One cannot do justice to these complex art forms by making it a simple story that one can tell on the streets. 5. Vrindavan Dandavate (Playwright and Arts Administrator) I like the idea immensely. I would love to watch such performances..this is what i dreamt in experimental theatre..go ahead.& all the best,--vrindakaka 6. Elena Odissi (Odissi dancer) When i have doubts I always think about guruji's used to say to some of his students.. That we need to be like lotus flowers in the pond..bringing the beauty of this dance to unconventional places is not an offence for the art but an offering of beauty to the universe. I find dancing only on stage very elitist and personally I am not interested in satisfying peopleʼs expectations but in offering them an unexpected moment of wonder…which would not have even dreamed of…least paid for! I think there is a prejudice against abhinaya. I have been reflecting about it a lot because I personally prefer performing abhinaya. I have come to the conclusion that we (as classical dancers) are a bit obsessed with having to 'understand' and 'explain' everything with do and expecting that the audience equally understand all gestures and subtleties in order to enjoy. But isn't it that we are harming our own art? Do people really have to understand everything? Can't they just enjoy the movement, the energy of the dance, the shift of expressions? Isn't it again up to the quality of the performance/er? Certainly the dancer has to think about the context and the potential audience when selecting the items to present. But would not a piece like saki he be wonderful if performed in a park/garden for instance? A deeply embodied and felt abhinaya can reach very far! True art is subject to infinite interpretations and modalities if understanding and enjoyment. Children or passers by perhaps cannot understand the depth, subtleties of what we do and definitely have little or no idea of the kind of psychophysical work which is behind it both from the dancer the guru the creator of the choreography... However their enjoyment is to me no less valuable no less rich.. And frankly the smile of a child or the wonder of a non traditional rasika is for me extremely satisfying as performer. Of course reaching a wider audience does not mean compromising the quality of what we do. People have to see and they have to see the best.. This is real justice to the art form. 7. Aloke Surin (Friend of the Arts) My personal view is that all art forms should be allowed a democratic platform and if someone wishes to perform in a public place, I see nothing wrong with that. For art and culture to be truly universal it should not be perceived as a luxury only for the elite sections of society - this malaise affects things like classical western music and even Indian classical

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music (I am referring to the "gharana" culture and the tradition of royal patronage for the arts). 8. Erifily Nikola (Dancer and Yoga instructor) in fusing dances, my main objective has been to remain respectful to the forms I borrow from. although i do not have an issue with venues, i do mind when people rush to call themselves classical dancers after taking a year's worth of classes. for me it feels like disrespect to people who have been studying their whole life the finer nuances of a complex art form. 9. Sanjeevini Dutta (Odissi dancer) It is a fair point to raise. My take is that the Odissi dance form cannot be compromised by the setting- it is a refined and sophisticated art form wherever it is practised.But of course the subtleties and nuances particularly of solo abhinaya items is lost in a passing crowd. Big group pieces of nritta items such as batu and pallavis can be rearranged to be effective in large open spaces, and what better than get audiences who may not buy a ticket to see odissi or any another dance in a theatre space? Dance for all is makes such forms less elitist and there is space for the rasika and the casual viewer. 10. Rasika Kumar (Bharatnatyam Dancer) This is an interesting discussion, Rohini Didi. What comes to mind are the original venues for classical dance where it was performed in temples and in processions through the city alongside the deity during festival times. Here, it was about bringing the dance to the common person. The tradition of dancing on a stage has only come about recently, and even then, we borrow from the original tradition by keeping an altar on the side and sanctifying the space accordingly. I totally agree with your point about distinguishing classical art from art meant for spontaneous merry-making (as you put it). But I think as long as the dancer's intention is spiritual and does not trivialize the art form, the venue doesn't make a difference to me. 11. Katherine Kunhiraman (Dancer & Dance educator) Some of you sound so elitist! If these arts are never seen by "the man on the street" how will they ever discover them? Rasika Kumar Kumar sensibly points out the traditional venues, but what about the rest of the world? Some, many haven't a clue! The way YOU present it is where dignity and artistic integrity reside. 12. Jhelum Paranjape (Odissi dancer) I can definitely imagine an Odissi performance on a street. That doesn't make it a dance of merry making. Also, I kind of agree with Sanjeevani, that in a place like this, pure dance items like pallavi would be more appreciated and appropriate. About abhinay... In a park of course it'll be a hit.. but I thought we were specifically talking about streets. Parks and other open spaces have been used umpteen times in Mumbai. And people have heartily welcomed and responded to these ventures.

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13. Parvati Rajamani (Odissi dancer) I see absolutely no contradiction in presenting the dance form on the street , albiet to an audience that is discerning-but the question is can we modify/ tweak an audience on the street ? But then ,can we really sus what exactly goes on in in the mind of all the members of the audience in a classical established venue ? So in my view, the intention , quality , aesthetic and committment to the art form is what counts - the venue is secondary. And thank you Rohini ji for initiating such an interesting topic for debate ! 14. Aadya Kaktikar (Odissi dancer) The whole argument seems to rest on the classical status of odissi which is a relatively new event. As for spirituality.....i wonder if it is attainable in an auditorium? I think the answer tests on questions like why do we dance? To what purpose to what end? What is wrong with dancing odissi for merriment? Yes the gurus worked towards classicizing odissi bcs that was the need of that time... They responded to it.... Today is a different world.... How am I as an artist responding to it? Odissi should not be fossilized.... To be preserved for eternity.... It should be a growing vibrant challenging space.... It's a praxis not a practice..... This should be the core of thinking from which decisions such as these ought to be taken.... 15. Raj Surin (Patron of the art and Photographer) Like you mention at the very start....dance forms were re/-constructed by the gurus - from what ??....obviously it was to refine and hone the dance moves into well synched presentable for an audience/guru..effectively choreographed...and lost to the mass because of the (at times) godliness / for the royalty...but look at all the fanfare today in terms of crowd/ flash-mob performances..besides finding an audience in the street / participants of curiosity- it does seem worth the while to indulge out in the open.. most of our indian dance moves (cinema) stem from the classics on record..and when put into a "choir" mode in the public platforms..i think it is fun (there will be die-hards who will say it is out of place /sync with the "original art form"..which anyway came from natural expressions of cultural referances...SO YES..i think its worthwhile..this world could do with a lot of such .... 16. John Dennis Horo (Patron of the arts) Yes Rohini. I do endorse and support your view as such traditional dances of India need to be propagated and taught at the school level / in childhood itself. May be such displays / expositions at various platforms will create 'interest or liking / loving' amongst the people / public. Later in life, all of us get too busy with multiple responsibilities of life. 17.Monica Singh Sangwan (Odissi dancer)I am in two minds about it .though I am all for not making it an elitist art form we have to be conscious about its presentation .world over dance festivals etc have started putting classical dance

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along with other cultures folk dances. I even saw a video of Greek folk dance and Odissi dance being performed together.this is terrible .the danger of folklorising a classical dance due to incorrect presentation, desperate and misguided need to popularize it etc etc will not serve the art form. We have to think much more intelligently before endorsing too much openness. Abhinayadarpan, natyashastra and other texts speak in detail of stage presentation and even the audience that needs to witness it . Even if times have changed the aesthetic should stay intact