The Indian classical dance forms are mostly performed solo. Further, even
in case of a solo presentation or a group, Aharya abhinaya (themed
costumes or backdrop, property, etc.) is limited. Even the accompanying
orchestra is simple and hence the performance mainly rests on the shoulders of
the dancer. This stands truer in the case of Kathak with its neutral costumes and
the format that offers broad scope for extempore. Since it is the dancer who is
‘in-charge’ of the whole presentation, the evaluation of any Kathak
presentation is indeed the assessment of the Dancer themselves. Hence it is important
to discuss the attributes that make a good dancer. Understanding the qualities
of a flawless dancer is imperative for everyone; from aspiring dancers to
professionals and to the dance mentors carving the dancers.
The discussion of qualities of a good dancer is found in the Natyashastra,
however, the discussion has many facets and details in the medieval texts such
as Sangeetsamaysaar, Nartananirnaya, Nrittaratnavali as well. The
attributes mentioned here include some indispensable qualities and some
attributes that will be an added advantage for the dancer. These attributes are
mentioned:
1. Training (सुविद्यता):
Training from a proficient guru which is called as ‘talim’ is the
basic prerequisite for any classical dancer. The online platforms today have
uncountable video tutorials for many dance forms. However, classical dance
style is still an exception as Seena-Basina (सीना-बसीना), which literally translates to ‘in-person training’ wherein the Guru mentors
the student in accordance with their capabilities, style, physique, etc. The
learning in fact never concludes. Even after you start performing and teaching
independently, your talim with your Guru should not be
discontinued. The continual learning is essential for your performance as well
as teaching. Thus, methodological talim and lifelong is the basic
attribute of any dancer.
2. Tuning up with Riyaz (श्रमित्वं) :
Regular Riyaz
is the only way to achieve perfection and speed in Hastak, body
movements, and footwork. With strenuous
practice, the dancer can render every bol clearly with the sound of feet (चरणन्यासचातुर्य). Additionally, the dancer must
have “वलनं वर्तनं गात्रे”, flexible and graceful movements which perfect stretches which are called
as तोड-मरोड in Kathak. Riyaz hones every action of the dancer rendering their motion,
strokes, and movements a sculpted and picture-perfect character.
3. Enacting and mimetic skills (सर्वाभिनयनेतृता):
The dancer must have the capacity to
mirror emotions and characters through their eyes, eyebrows, facial expressions, and overall body language. This Abhinaya skill is developed with the teachings
of the Guru and self-exercise alongside reading and introspection.
4. Command on rhythm and technical know-how
A sense of rhythm and command on the Taal-cycle are qualities that
demonstrate a dancer’s skill and mettle. The expertise of Laya and taal
in Kathak is imperative for proficient presentation with Lehra as
well as for good padhant. This capability called a sense of rhythm is
considered inborn however, constant riyaj is also instrumental in
building this capacity.
Along with the sense of rhythm, the Kathakar must also be well-accomplished
with an overall outline of the taal with sam, Khali, Bhari.
He or she should also proficient in other aspects of taal such as
various patterns of Jati’s, Yati’s, Graha (Atit and
anagat).
5. Creativity (कलाभिज्ञा विद्याभीष्टप्रयोगज्ञा)
The dancer must also be able to innovate, re-imagine and experiment in the
framework of Classicism according to the contemporary currents in the art. As
an artist, they should also be responsive to the audience taste and the
changing subject matters in society. Nonetheless, these experiments should
be based on the courage of innovation backed by the detailed study of the
subject.
6. Presentational skills: (सभाजय)
The dancer stuns and wins the audience by various skills including
intricate and swift body movements, astonishingly speedy footwork, rendering
complex sounds with feet and sometimes by extra-ordinary jumps and leaps.
Although these skills are considered gimmicky in classical dance contexts; deploying
these methods with restraint can up the awe-factor and entertainment quotient
of the performance. But it is important
to understand that these methods or exaggerations must not be used to
compensate for the lack of creativity, skill, riyaz, and other parameters
that are the foundations of a good presentation. These extraordinary methods
are add-ons that embellish the performance and not core or crux of the
dance-form.
The presentation skills for a Kathak dancer also include the ability to retain
an expressive and lively countenance throughout the performance. One more
critical quality is to build and establish an eye-contact with the audience in
the performance. This quality is termed as सुतारा in the texts.
7. Spontaneity for Upaj (सुबुद्धित्व):
Upaj is a technical word meaning the extempore or the impromptu part in the performance.
A good dancer goes beyond the rehearsed matter and adds spontaneous colors in
taal as well as bhaav anga. This capacity of the unscripted performance
is built by the extensive experimentations and independent riyaj of Upaj.
8. Maintaining the bearing and composure (अत्रुटद् -रसता):
This is the capacity of being in
character or being in the composure of the performer throughout the performance.
Performing with live music is a challenge and it is furthered with
maintaining the composed body language, adjusting with the live music (that may
or may not be perfectly scripted) and simultaneously exhibiting the facial
expressions flawlessly.
Also, an associated important quality is divided attentiveness where the
dancer is absorbing the live music and handling the costume, gauging the
spontaneous feedback from the audience, all at the same time. An accomplished dancer
is the one capable of divided attention.
9. आरंभामोक्ष
विज्ञत्वं-
The age-old
attribute mentioned in the scriptures is equally relevant today. The brilliance
of impressive beginning of the performance and culminating closing is necessary
for the ascending impact. The mature artist is the one who knows when to stop!
An associated attribute with this is the awareness about one’s own pluses
and minuses and further wisdom of highlighting the pluses and hiding the
minuses in the performance.
10. Curious inquiry (कुतुहलं):
Curiosity about the cutting-edge waves in the global dance field and
updating oneself with the knowledge of the new experiments in the dance,
expands the vision of the dancer.
11. Acquaintance
with vocal and instrumental music (गीतवाद्यानुकारित्व):
Kathak dancer always performs as a team with live musicians. The dancer
must be sensible enough to present the performance as a team-work. He or she
must pay due respect to the musicians and must not consider them as mere
subordinate accomplices.
The knowledge of vocal and instrumental music or even formal training of
the same proves to be an added advantage for the dancer. Many renowned
senior Kathakars are also accomplished in singing and tabla. The traditional style of Thumri presentation in Kathak also includes singing by the
dancer himself and such presentation “स्वयं गा कर प्रस्तुती” is
considered as extraordinary. Even the scriptures have classified that dancer as
extra-ordinary who has vocal skills too. As the Nrittaratnavali
says: नर्तकी गायनी
स्याच्चेत् भोगिनी पात्रमन्यथा॥ The dancer who is also a good singer proves to be an out of this world/superlative
artist.
12. Physical attributes:
The dance
manuals have discussed the physical attributes of a female-dancer in more
detail than the male. Being an audio-visual art, the body is the essential
medium of the presentation. The dancer should have a proportionate and shapely
body, not too tall, not too short. The dancer may have a fair countenance or
dark, but it should be fluidly expressive. However, Jayasena has a
liberal approach to physical attributes:
रूपयौवनयुक्तानां सहस्रेऽपि
मृगीदृशाम्।
कलागुणसमेतानां नर्तकी नैव
लक्ष्यते।
The dancer proficient in art is surpasses many other dancers with mere
physical beauty. This stands true today as we witness many successful
performers who may not be ‘beautiful’ as per stereotypical standards.
13. Teaching skills:
The shastras talk about this attribute regarding male dancers mainly, since
traditionally male dancers were viewed as Acharyas or mentors or teachers
whereas female dancers were mainly viewed as performers. However, the classical
dance scene in the 21st century makes the teaching skill essential for
every dancer who considers dance as a full-time profession.
Apart from these dance-related attributes, the scriptures also mention some
general human qualities necessary for a good artist. These include politeness, discipline,
zero dependence on artificial stimulants, does not consume products that harm
and the mind and body, etc. It mandates overall
habits that are essential for physical and mental wellbeing alongside behavior
that is appropriate, virtuous, and
beneficial to society.
Apart from these qualities mentioned traditionally in the dance manuals, in
line with the current times, some other attributes are worth adding in the list:
1. Being techno-savvy is the need of an hour:
The classical dancer must have sound knowledge of technological
developments in the dance field and he should also make good use of the
technology. For a Kathak dancer, technological knowledge may include basic
knowledge of stage lights, sound, knowledge about audio and video recording,
various applications for accompaniment, the lehra applications, tabla
applications, etc. The dancer should also be able to use social media
effectively for reaching the people with his or her creations.
2.Liberal and welcoming attitude:
The field of Kathak is witnessing unprecedented spread and new experiments
today. In such a scenario, liberal and respectful attitude towards different
style, different opinion, and different Gharana is necessary for the development
of the dancer and the field both.
Weaknesses:
Most of the Shastrakara’s have not discussed the flaws of a dancer
in detail but have simply mentioned that lack of attributes can be considered
as a weakness. Nevertheless, they have mentioned a few like ignorance about lay-taal,
physical disability, lethargy towards Riyaz, addictions, lack of
spontaneity for Upaj.
These are some other weaknesses that are bypassed by the successful dancers
today and hence are worth mentioning:
1.Both the extremes: Extreme rigidity about the tradition or disregard
Blind stubbornness about the tradition saturates the art-form. Lack of
readiness to adapt the traditions to the changing times and shifting audience
mindsets is definitely a flaw in the current age. At the same time, shallow
modernity where mediocre new experiments with lack of knowledge about the
tradition that pollutes the style is an equally dangerous catch.
2. Delusive stardom and resulting lack of professionalism:
Classical dance in India is bequeathed a divine stature. But often, the
artist mistakenly assumes the divinity of art on the individual self, resulting
in a superiority complex. It is the art that is regarded supreme, and not
necessarily the artist. This superiority complex may lead to unprofessional
practices on part of the artist like quench of publicity, demeaning the
audience or co-artists, fragmentary teaching, etc.
Nonetheless, many senior dancers today have achieved the peak of success and still managed to refrain from these flaws.
“If you are not moving forward, then you are moving backward.”
The artist moves forward by constant efforts of eliminating flaws and enriching
the good qualities. Otherwise, the backward journey is inevitable.
