Rajashree
Shirke: Dance is a multi-layered and dependent art
- Lalitha
Venkat
December 17,
2008
 An
exponent of Kathak and Bharatanatyam, Rajashree Shirke has through a deep
and prolonged practical study, managed to capture and retain in her performance
the technique and nuances of both these styles. She has performed extensively
in India and aboard. Rajashree is the Principal of the Lasya Centre of
Dance Education and Research, which conducts a Diploma in Kathak and Bharatanatyam.
She is a recognized theoretician and an acclaimed academician. To add to
her list of achievements, Rajashree Shirke is also a gifted creative writer,
a highly acclaimed and awarded actor. The Founder Director of Lasya, she
continues to dedicate her life and work to the spread and preservation
of the Kathakar tradition of Kathak. She is also actively involved in imparting
dance training to underprivileged children.
'Madan Samhara':
A study of Avadhi language of the 'Ramcharitra Manas' of Tulsidas, is one
of her research works. Lasya conducts an annual festival called Yatra.
How did
you adapt Mahesh Elkunchwar's old play 'Pratibimb' to present a classical
dance theatre presentation 'Haravele Pratibimb' and add the touches of
humour in dance?
'Haravele
Pratibimb' is not a pure dance adaptation but falls in the genre of theatre-dance
(Ranga-nritya), which is a symbiotic presentation of spoken dialogues and
dance. In this are some elements of classical dance that have been used
in bits and parts. The playwright has written scenes which are a play of
imagination and fantasy, and those especially have been interpreted through
dance. Some scenes of black humour, at times subtle dry humour, have been
adapted completely in dance, without losing the context and the theme of
the original text; for example, the landlady singing a javali to entice
the paying guest, the use of meaningless chollus to symbolize nonsensical
talk, the shaving scene, a fight between a lion and a deer, the momentary
transformation of the paying guest into a woman and the landlady into a
man through a traditional hori, the dance of the lady with a lost reflection…etc.
How have
Ramayana themes influenced your dance repertoire?
Apart from
my choreographic work 'Ravana-Mandodari Samvaad,' I have always presented
episodes from Ramayana in traditional Kathak performances, in my Gat-bhav
sections - Sita Harana, Jatayu Mokhsa, Sita Swayamwara, Shurpanakha. Recently
I have choreographed a solo Bharatanatyam piece Shravan Kathaa. I feel
epics like Ramayana are a part of us as Indians; we grow with them, live
with them and leave the world beseeching Rama to give us moksha.
How do you
perceive 'Ravana Mandodari Samvaad' in Kathak?
For quite
some time, I felt that the Bhava-paksha of Kathak, in the present-day performances,
was not as widely explored as the Nritta-paksha. That's when I was drawn
towards the Kathaakaar paramparaa (the art of story telling) of Kathak.
Kathak was known as kathkaa kare so Kathak. The genesis
of the style of Kathak in fact is traced back to this format of presentation
which was prevalent in the temples. Ravana-Mandodari is a recreation of
this concept of Kathaakaar padhati where entertainment and education-upedasha
went hand in hand. This recreation, of course, with my sensibilities of
the contemporary woman, is about the conflict between dharma and adharma
as seen from Mandodari’s point of view.
In the various
conferences that you have attended, what strikes you most?
Dance is a
multi-layered and dependent art. Hence any conference which is well designed,
definitely, in one way or the other helps to gain a better understanding
of your own faculty. Meeting other scholars, sharing, does promote your
growth and interest in dance.
What importance
do you think NKC plays in the field of performing arts?
Firstly, as
an arts administrator, I am aware of the difficulties in beginning any
new venture, and to consistently keep it alive is all the more difficult.
Hence the fact that NKC has been consistently held for these many years,
and in addition to this, the finest dancers/choreographers/teachers of
the country have been invited to share their views over the years, is truly
commendable - a great service to art.
Every work
of art has the personal fragrance and flavour of the artist who creates
it, be it the art of performance or the art of teaching or choreography
or arts administration. A conference like this provides the artistes a
platform to place forth their individual viewpoint - their perception of
the art of dance, and for the connoisseurs, a view into that process of
art creation. NKC is a genuine and serious platform for artistes
to share/discuss/analyze the art of dance, essential for the growth of
the artiste and the art.
Your comments
on the Chennai December season.
The amount
of energy that classical dance and music receives is simply fantastic.
Look at the scenario from this perspective. Young talented dancers, seasoned
dancers, old themes, new themes kept alive, research done for new presentations,
the amount of music created, search for new motifs in dance, or placing
of old motifs in contemporary age and so on... I am truly amazed.
Contact:
e-mail: rajashreeshirke.2008@rediffmail.com |
