One Step at a Time
DANCE One Step at a Time
One Step at a Time
MAGAZINE
What inspires Shalaka Kulkarni
Dance Magazine Summer 2012
1
One Step at a Time
2
Dance Magazine Summer 2012
table
One Step at a Time
Modern10 Ballet18 Indian Classical 24
of Contents
S
An interview with
halaka 6 Kulkarni
One Step at a Time Dance Magazine Summer 2012
3
One Step at a Time
S
halaka Kulkarni
Founder of SurTaal Dance Company
Dancer, Choreography, Actress Winner of Best Chereographer in Dance Chicago Festival 2005
4
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
5
One Step at a Time
Hybrid Photography by Sharvari Kulkarni
By: Sharvari Kulkarni
Shalaka
Kulkarni 6
Dance Magazine Summer 2012
Photography by Sharvari Kulkarni
One Step at a Time
so about 21 years. Now that I think about it, it’s been a long time (laughs). Q: So you continued when you moved to the
Q: Okay, so first of all, what is your medium? I mean you dance, chereograph, and actor but, how did you start? A: Well my starting point was dance and Bharatanatyam dance at that. But as I got into the field of performance art, over the years, I explored other forms and found that they were my passion just as dance was. Q: You mentioned Bharatanatyam as your start. What is Bharatanatyam dance? A: Bharatanatyam is one of the Classical dances of India. It started in the temples and courts of South India, in a state called Tamil Nadu. Q: How long have you danced? A: I starting dancing when I was 5 years old
States? A: Yes. When I came here, I was a teenage and very homesick. I think my paents saw how I was and thought that continuing my dance would cheer me up. As you can see, that was the best decision for my life. Q: So instead of keeping your dance classes as a hobby, you turned iti into your career. What made you to become a dancer? A: (Takes a long time to answer) I was trying to think of a prodound answer but, nothing. I like dance. There is no other reason. And there shouldn’t be. Q: How would you describe the style of your dance? A: Style? Here comes the tricky part. I like to think of it as a hybrid. A cross between my Dance Magazine Summer 2012
7
One Step at a Time
8
Dance Magazine Summer 2012
One Step at a Time
Phototgraphy by Sharvari Kulkarni
Dance Magazine Summer 2012
9
One Step at a Time
Keeps a notebook in her bag at all times in case her creative juices start f lowing
Indian Classical and modern.
to pick a narrative out of that.
Q: A cross? What does that mean?
Q: So you don't go into the studio until you
A: The style is based on modern and other
don't have a clear story?
western styles, using their body movements
A: No not always. Sometimes, if I can't find
and its free way of expression. Mixed in that
something then, I just start dancing. Seeing
are the Indian Classical gestures with the
how body moves and all my dancers helps
hands and the fast footwork.
me pick out what I can say.
Q: When you talk about other Western styles,
Q: Is that what SurTaal Dance Company is
what would you say is your inspiration?
about?
What do you look towards?
A: Yes. We have no defined style or genre of
A: My inspirations? Well like I said, Modern
dance. SurTaal’s dance style looks internation-
plays a big part but, I also have a little training
ally to places like Africa, America Indian tribes,
in Ballet and Hip Hop. You can see a lot more
the art of Flamenco and popular Western
of Hip Hop influence in my new work actually.
styles like jazz and modern for inspiration,
And then I can't forget Indian Classical.
and then draws on the Indian dance forms
Q: How do you start a new work?
of Bharatnatyam, Kathak and folk to merge
A: Ramblings. I carry around a notebook
the dance with our own native style
where I write anything and everything that comes to mind. Half of it does not make sense but it helps me to get it out. Then I try
10
Dance Magazine Summer 2012
One Step at a Time
s g n i l mb
Ra
Dance Magazine Summer 2012
11
One Step at a Time
Phototgraphy by Sharvari Kulkarni
12
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
13
mod er One Step at a Time
14
Dance Magazine Summer 2012
One Step at a Time
rn Nichelle Strzepek
seen before, and they were guiding others
The beginnings of modern dance in the
to do the same.
United States (Germany also had a related and influential dance movement) are
From this small family tree, emerged
traced to the early 20th century to a group
another generation of dancers. This group,
of dancers often labeled the forerunners
considered the founders of modern dance,
of modern dance. Isadora Duncan, Loie
broke whatever rules had been laid down
Fuller, Ruth St. Dennis, and her husband and
by their predecessors. Instead of borrowing
partner Ted Shawn, each made significant
movement from other cultures, they created
contributions to a new type of concert
movement based on the experiences
dance in America.
of their own era. They were interested in presenting the inner self and all of it’s
Their dance reflected and challenged the
complex emotions on the concert stage.
art, philosophy, and issues of their time,
These founders, Martha Graham, Doris
explored the cultures of other places and
Humphrey, and Lester Horton, among
times, made new advances in theatrical
others, also created their own techniques
lighting and spectacle, and discarded the
which they taught in independent dance
costumes and artificiality of classical
schools and universities. Their work
ballet. They were exploring and expressing
established modern dance as a legitimate
themselves in a way that had never been
art form. Dance Magazine Summer 2012
15
One Step at a Time
16
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
17
One Step at a Time
You
have to
Dancers in the founder’s companies such
Theater were some of the prime movers
as Merce Cunningham, José Limon, Alvin
in this experimentalist trend. Dance artists
Ailey, Paul Taylor and Anna Sokolow
were leaving the theatrical stage altogether
continued to redefine not only modern
and performing dance in public parks, on
dance but, dance in general. Each
buildings, in museums, and on busy streets.
contributed something different but, in gen-
Choreographers explored improvisation
eral, this third generation was noted for a
as legitimate performance and often
more minimalistic approach to dance
presented performers with no dance
in which movement became more
training in their work. Audiences were
pedestrian and stripped-down.
asked to accept everyday movement like dressing, walking, and playing as dance. It
Some, like Merce Cunningham, explored
was a direct upheaval of the concepts and
chance elements in their choreography,
codification that Modern dance artists had
allowing a roll of dice to determine a
fought to develop.
dances’ structure. Others, like Alvin Ailey, brought ethnic, social, and political issues
Yet, as those who had gone before
to the forefront.In the 1960s and 70s, the
have done, each generation of modern
work of these earlier artists ushered in
dancers seeks new terminology, concepts,
the postmodern dance movement. The
and techniques that broaden the definition
artists involved with Judson Dance
of dance.
18
Dance Magazine Summer 2012
love dancing
One Step at a Time
to stick to it.
It gives you nothing back,
nothing but that
single fleeting moment
when you feel
alive.
Merce Cunningham Dance Magazine Summer 2012
19
One Step at a Time
Phototgraphy by Sharvari Kulkarni
20
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
21
artist is ahead One Step at a Time
No
his time; it is just that o the times. This legacy continues in the 21st
Modern dance, although defined in many
century, an environment that draws from
dictionaries as “a form of contemporary
the techniques of modern dance and the
theatrical and concert dance employing a
spirit of exploration in postmodern dance.
special technique for developing the use of
In fact, today most dancers on the concert
the entire body in movements expressive of
stage are likely to have experiences in
abstract ideas,” is a label that has begun to
many techniques and, with the exception
feel outdated for describing works created
of those who have pursued or immersed
in the 21st century.
themselves specifically in ballet or other systematized dance form, consider
The term has recently been dedicated
themselves contemporary dancers.
more to the techniques (both the structured styles like Graham, Limon, or Horton and
They study traditions in modern dance, but
the less codified systems) that are studied
also other movement disciplines like ballet,
by contemporary dancers than works
jazz, african, yoga, gymnastics, and martial
currently performed on the concert stage.
arts, as well as improvisational techniques
To understand Modern Dance, therefore,
such as contact improvisation and body
it is a good idea to become familiar with
mapping. Therefore, the movement you’ll
these techniques as well as with its history
see in a technique class or on stage
and its role in the development of the
reflects this diversity.
constantly transforming art form of
22
Dance Magazine Summer 2012
One Step at a Time
d of his time. He is
others are behind Martha Graham contemporary dance, which is not a
knowledge to compare, and the confidence
technique but a collection of principles
to appreciate that modern and, in fact, most
regarding movement and the
contemporary dance refuses to be defined
choreographic/performance process
by labels. As one’s experience with the art
which are closely related to the goals
of dance grows, the need to brand dance
of the original modern dancers and
forms will diminish, and the question “What
their techniques.
is Modern Dance?” will be replaced with “What else can dance be or become?”
Many times when people ask the question “What is Modern Dance?” they seek to prepare themselves for participation in either a class or as an audience member. Take technique classes from a variety of teachers, watch choreography and performances by many different artists, and/or explore and improvise with movement, all the while, keeping an open mind in regard to one’s own definitions of dance. Each experience broadens and shapes understanding, giving one the Dance Magazine Summer 2012
23
One Step at a Time
dance language
24
Dance Magazine Summer 2012
One Step at a Time
Modern dance
has room for
different voices than any other form.
Dance Magazine Summer 2012
25
One Step at a Time
A L L E T 26
Dance Magazine Summer 2012
B
Associated Authors
One Step at a Time
Ballet is a highly stylized dance form that developed into a popular courtly entertainment during the Italian Renaissance, a serious dramatic art in seventeenth century France, and a world-renowned fine art in twentieth century Russia and America. Ballet is best known for its sophisticated techniques, such as pointe work, turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities. In Aristotle’s “Poetics,” dance was likened to drama and held “to represent men’s characters as well as what they do and suffer.” In ballet, the expressive, disciplined movement of the human body through carefully choreographed productions enables dancers to advance a dramatic narrative, typically a folk tale, while conveying a range of human emotions. Joys, sorrows, hopes, and ideals are dramatized without words, enabling this art form to speak universally across boundaries of language and culture. Dance is prominent throughout history. Traditions of narrative dance evolved in China, India, Indonesia, and Ancient Greece. Theatrical dance was well-established in the wider arena of ancient Greek theater. When the Romans conquered Greece, they assimilated Greek dance and theater with their art and culture. While dance continued to be important throughout the Middle Ages, in spite of occasional suppression by the Church, ballet as a recognizable dance form did not emerge until the late 1400s, in Italy. While Italy may be credited with the inception of the ballet tradition, the French Dance Magazine Summer 2012
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Dance Magazine Summer 2012
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Dance Magazine Summer 2012
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One Step at a Time
Dancers are
stripped enough onstage.
Mikhail Baryshnikov You don’t have to know more about them than they’ve given you already. 30
Dance Magazine Summer 2012
One Step at a Time
enabled it to blossom. Incorporating aspects of Italian ballet, French ballet gained prominence and influenced the dance genre internationally. To this day, the majority of ballet vocabulary originates from French.The word ballet itself comes from French, and was incorporated into English during the seventeenth century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Latin ballere, meaning to dance. Ballet has spread throughout the world, notably in the stagings of the Royal Danish Ballet, the Sadler’s Royal Ballet of London, American Ballet Theatre, the Australian Ballet, and more recently the China Central Ballet, Hong Kong Ballet, and the Ballet Company of the New National Theater of Tokyo, as well as the National Ballet Academy and Trust set up in India. The Korean National Ballet (founded in 1962), and more recently Universal Ballet of Seoul, have contributed to the popularization of ballet in Korea. The Universal Ballet invited Oleg Vinogradov, the artistic director of the Kirov Ballet for 22 years, to stage classics from the Kirov repertory starting in 1992, and as artistic director in 1998, thus introducing the Russian ballet style in Korea. The athleticism and virtuosity of modern ballet has won international recognition. Re-stagings of beloved ballets, as well as innovative modern dance, testify to the flexibility and vitality of the art. Dancers and choreographers constantly seek to explore new technical and dramatic frontiers, and international tours of dance companies and elite schools of dance confirm the continuing global appeal of contemporary ballet. Dance Magazine Summer 2012
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One Step at a Time
Ballet is like
rearc
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Dance Magazine Summer 2012
One Step at a Time
ching
for the sky.
Dance Magazine Summer 2012
33
One Step at a Time
Indian Classical Associated Authors
The classical dances of India: Kathakali
most often the hero. The spectators can
Kathakali literally means story-play and is an
feel His invisible presence when the heroine
elaborate dance depicting the victory of truth
or her maid details dreams and ambitions
over falsehood.
through circular movements, delicate footsteps and subtle expressions. Through slow
A Striking feature of Kathakali is the use of
and medium tempos, the dancer is able to
elaborate make-up and colourful costumes.
find adequate space for improvisations and
This is to emphasize that the characters are
suggestive bhavas or emotions.
superbeings from another world, and their make-up is easily recognisable to the trained
The basic dance steps are the Adavus
eye as satvik or godlike, rajasik or heroic, and
which are of four kinds: Taganam, Jaganam,
tamasik or demonic.
Dhaganam and Sammisram. These names are derived from the nomenclature
Mohini Attam
called vaittari.
The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is
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Dance Magazine Summer 2012
The Mohini attam dancer maintains realistic
An artist’s best teacher is nature. One Step at a Time
Why do you need to go anywhere,
when nature is here.
Pandit
Birju Maharaj Dance Magazine Summer 2012
35
One Step at a Time
Phototgraphy by Sharvari Kulkarni
36
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
37
One Step at a Time
make-up and adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a beautiful white with gold border Kasavu
repertiore as we know it today was
saree of Kerala, with the distinctive white
constructed by this talented Tanjore Quartet.
jasmin flowers around a French bun at the side of her head.
Kuchipudi The dance drama that stil exists today and
Bharata Natyam
can most closely be associated with the
Bharata Natyam dance has been handed
Sanskrit theatrical tradition is Kuchipudi which
down through the centuries by dance
is also known as Bhagavata Mela Natakam.
teachers (or gurus) called nattuwanars
The actors sing and dance, and the style is
and the temple dancers, called devadasis.
a blend of folk and classical. Arguably this is
In the sacred environment of the temple
why this technique has greater freedom and
these familes developed and propagated
fluidity than other dance styles.
their heritage. The training traditionally took around seven years under the direction of
Bhagavata mela natakam was always
the nattuwanar who were scholars and
performed as an offering to the temples of
persons of great learning. The four great
either Merratur, Soolamangalam, Oothkadu,
nattuwanars of Tanjore were known as the
Nallur or Theperumanallur.
Tanjore Quartet and were brothers named `Chinnaiah, Ponnaiah, Vadivelu and
Odissi
Shivanandam. The Bharata Natyam
Odissi is based on the popular devotion to
38
Dance Magazine Summer 2012
One Step at a Time
movement of the planets around the sun. It is said that when Krishna, Radha and the gopis danced the Ras Leela, Shiva made Lord Krishna and the verses of the Sanskrit
sure that no one disturbed the beauty of the
play Geet Govinda are used to depict
dancing. Parvati, the consort of Lord Shiva
the love and devotion to God. The Odissi
also wished to see this dance, so to please
dancers use their head, bust and torso in
her he chose the beautiful area of manipur
soft flowing movements to express specific
and re-enacted the Ras Leela. Hundreds of
moods and emotions.
centuries later, in the 11th century, during the reign of Raja Loyamba, prince Khamba of
The form is curvaceous, concentrating on
the Khomal dynasty and Princess Thaibi of
the tribhang or the division of the body into
the Mairang dynasty re-enacted the dance
three parts, head, bust and torso; the mudras
and it became known as Lai-Haraoba, the
The dance was taken to Muslim courts and
most ancient dance of Manipur.
thus it became more entertaining and less religious in content. More emphasis was laid on nritta, the pure dance aspect and less on abhinaya (expression and emotion).
Manipuri This dance style was originally called jogai which means circular movement. In ancient texts it has been compared to the Dance Magazine Summer 2012
39
One Step at a Time
Indian Classical
is dancing
with the earth. 40
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
41
One Step at a Time
Phototgraphy by Sharvari Kulkarni
42
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
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Dance Magazine Summer 2012
One Step at a Time
MAGAZINE
What inspires Shalaka Kulkarni
Dance Magazine Summer 2012
1
One Step at a Time
2
Dance Magazine Summer 2012
table
One Step at a Time
Modern10 Ballet18 Indian Classical 24
of Contents
S
An interview with
halaka 6 Kulkarni
One Step at a Time Dance Magazine Summer 2012
3
One Step at a Time
S
halaka Kulkarni
Founder of SurTaal Dance Company
Dancer, Choreography, Actress Winner of Best Chereographer in Dance Chicago Festival 2005
4
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
5
One Step at a Time
Hybrid Photography by Sharvari Kulkarni
By: Sharvari Kulkarni
Shalaka
Kulkarni 6
Dance Magazine Summer 2012
Photography by Sharvari Kulkarni
One Step at a Time
so about 21 years. Now that I think about it, it’s been a long time (laughs). Q: So you continued when you moved to the
Q: Okay, so first of all, what is your medium? I mean you dance, chereograph, and actor but, how did you start? A: Well my starting point was dance and Bharatanatyam dance at that. But as I got into the field of performance art, over the years, I explored other forms and found that they were my passion just as dance was. Q: You mentioned Bharatanatyam as your start. What is Bharatanatyam dance? A: Bharatanatyam is one of the Classical dances of India. It started in the temples and courts of South India, in a state called Tamil Nadu. Q: How long have you danced? A: I starting dancing when I was 5 years old
States? A: Yes. When I came here, I was a teenage and very homesick. I think my paents saw how I was and thought that continuing my dance would cheer me up. As you can see, that was the best decision for my life. Q: So instead of keeping your dance classes as a hobby, you turned iti into your career. What made you to become a dancer? A: (Takes a long time to answer) I was trying to think of a prodound answer but, nothing. I like dance. There is no other reason. And there shouldn’t be. Q: How would you describe the style of your dance? A: Style? Here comes the tricky part. I like to think of it as a hybrid. A cross between my Dance Magazine Summer 2012
7
One Step at a Time
8
Dance Magazine Summer 2012
One Step at a Time
Phototgraphy by Sharvari Kulkarni
Dance Magazine Summer 2012
9
One Step at a Time
Keeps a notebook in her bag at all times in case her creative juices start f lowing
Indian Classical and modern.
to pick a narrative out of that.
Q: A cross? What does that mean?
Q: So you don't go into the studio until you
A: The style is based on modern and other
don't have a clear story?
western styles, using their body movements
A: No not always. Sometimes, if I can't find
and its free way of expression. Mixed in that
something then, I just start dancing. Seeing
are the Indian Classical gestures with the
how body moves and all my dancers helps
hands and the fast footwork.
me pick out what I can say.
Q: When you talk about other Western styles,
Q: Is that what SurTaal Dance Company is
what would you say is your inspiration?
about?
What do you look towards?
A: Yes. We have no defined style or genre of
A: My inspirations? Well like I said, Modern
dance. SurTaal’s dance style looks internation-
plays a big part but, I also have a little training
ally to places like Africa, America Indian tribes,
in Ballet and Hip Hop. You can see a lot more
the art of Flamenco and popular Western
of Hip Hop influence in my new work actually.
styles like jazz and modern for inspiration,
And then I can't forget Indian Classical.
and then draws on the Indian dance forms
Q: How do you start a new work?
of Bharatnatyam, Kathak and folk to merge
A: Ramblings. I carry around a notebook
the dance with our own native style
where I write anything and everything that comes to mind. Half of it does not make sense but it helps me to get it out. Then I try
10
Dance Magazine Summer 2012
One Step at a Time
s g n i l mb
Ra
Dance Magazine Summer 2012
11
One Step at a Time
Phototgraphy by Sharvari Kulkarni
12
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
13
mod er One Step at a Time
14
Dance Magazine Summer 2012
One Step at a Time
rn Nichelle Strzepek
seen before, and they were guiding others
The beginnings of modern dance in the
to do the same.
United States (Germany also had a related and influential dance movement) are
From this small family tree, emerged
traced to the early 20th century to a group
another generation of dancers. This group,
of dancers often labeled the forerunners
considered the founders of modern dance,
of modern dance. Isadora Duncan, Loie
broke whatever rules had been laid down
Fuller, Ruth St. Dennis, and her husband and
by their predecessors. Instead of borrowing
partner Ted Shawn, each made significant
movement from other cultures, they created
contributions to a new type of concert
movement based on the experiences
dance in America.
of their own era. They were interested in presenting the inner self and all of it’s
Their dance reflected and challenged the
complex emotions on the concert stage.
art, philosophy, and issues of their time,
These founders, Martha Graham, Doris
explored the cultures of other places and
Humphrey, and Lester Horton, among
times, made new advances in theatrical
others, also created their own techniques
lighting and spectacle, and discarded the
which they taught in independent dance
costumes and artificiality of classical
schools and universities. Their work
ballet. They were exploring and expressing
established modern dance as a legitimate
themselves in a way that had never been
art form. Dance Magazine Summer 2012
15
One Step at a Time
16
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
17
One Step at a Time
You
have to
Dancers in the founder’s companies such
Theater were some of the prime movers
as Merce Cunningham, José Limon, Alvin
in this experimentalist trend. Dance artists
Ailey, Paul Taylor and Anna Sokolow
were leaving the theatrical stage altogether
continued to redefine not only modern
and performing dance in public parks, on
dance but, dance in general. Each
buildings, in museums, and on busy streets.
contributed something different but, in gen-
Choreographers explored improvisation
eral, this third generation was noted for a
as legitimate performance and often
more minimalistic approach to dance
presented performers with no dance
in which movement became more
training in their work. Audiences were
pedestrian and stripped-down.
asked to accept everyday movement like dressing, walking, and playing as dance. It
Some, like Merce Cunningham, explored
was a direct upheaval of the concepts and
chance elements in their choreography,
codification that Modern dance artists had
allowing a roll of dice to determine a
fought to develop.
dances’ structure. Others, like Alvin Ailey, brought ethnic, social, and political issues
Yet, as those who had gone before
to the forefront.In the 1960s and 70s, the
have done, each generation of modern
work of these earlier artists ushered in
dancers seeks new terminology, concepts,
the postmodern dance movement. The
and techniques that broaden the definition
artists involved with Judson Dance
of dance.
18
Dance Magazine Summer 2012
love dancing
One Step at a Time
to stick to it.
It gives you nothing back,
nothing but that
single fleeting moment
when you feel
alive.
Merce Cunningham Dance Magazine Summer 2012
19
One Step at a Time
Phototgraphy by Sharvari Kulkarni
20
Dance Magazine Summer 2012
One Step at a Time
Dance Magazine Summer 2012
21
artist is ahead One Step at a Time
No
his time; it is just that o the times. This legacy continues in the 21st
Modern dance, although defined in many
century, an environment that draws from
dictionaries as “a form of contemporary
the techniques of modern dance and the
theatrical and concert dance employing a
spirit of exploration in postmodern dance.
special technique for developing the use of
In fact, today most dancers on the concert
the entire body in movements expressive of
stage are likely to have experiences in
abstract ideas,” is a label that has begun to
many techniques and, with the exception
feel outdated for describing works created
of those who have pursued or immersed
in the 21st century.
themselves specifically in ballet or other systematized dance form, consider
The term has recently been dedicated
themselves contemporary dancers.
more to the techniques (both the structured styles like Graham, Limon, or Horton and
They study traditions in modern dance, but
the less codified systems) that are studied
also other movement disciplines like ballet,
by contemporary dancers than works
jazz, african, yoga, gymnastics, and martial
currently performed on the concert stage.
arts, as well as improvisational techniques
To understand Modern Dance, therefore,
such as contact improvisation and body
it is a good idea to become familiar with
mapping. Therefore, the movement you’ll
these techniques as well as with its history
see in a technique class or on stage
and its role in the development of the
reflects this diversity.
constantly transforming art form of
22
Dance Magazine Summer 2012
One Step at a Time
d of his time. He is
others are behind Martha Graham contemporary dance, which is not a
knowledge to compare, and the confidence
technique but a collection of principles
to appreciate that modern and, in fact, most
regarding movement and the
contemporary dance refuses to be defined
choreographic/performance process
by labels. As one’s experience with the art
which are closely related to the goals
of dance grows, the need to brand dance
of the original modern dancers and
forms will diminish, and the question “What
their techniques.
is Modern Dance?” will be replaced with “What else can dance be or become?”
Many times when people ask the question “What is Modern Dance?” they seek to prepare themselves for participation in either a class or as an audience member. Take technique classes from a variety of teachers, watch choreography and performances by many different artists, and/or explore and improvise with movement, all the while, keeping an open mind in regard to one’s own definitions of dance. Each experience broadens and shapes understanding, giving one the Dance Magazine Summer 2012
23
One Step at a Time
dance language
24
Dance Magazine Summer 2012
One Step at a Time
Modern dance
has room for
different voices than any other form.
Dance Magazine Summer 2012
25
One Step at a Time
A L L E T 26
Dance Magazine Summer 2012
B
Associated Authors
One Step at a Time
Ballet is a highly stylized dance form that developed into a popular courtly entertainment during the Italian Renaissance, a serious dramatic art in seventeenth century France, and a world-renowned fine art in twentieth century Russia and America. Ballet is best known for its sophisticated techniques, such as pointe work, turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities. In Aristotle’s “Poetics,” dance was likened to drama and held “to represent men’s characters as well as what they do and suffer.” In ballet, the expressive, disciplined movement of the human body through carefully choreographed productions enables dancers to advance a dramatic narrative, typically a folk tale, while conveying a range of human emotions. Joys, sorrows, hopes, and ideals are dramatized without words, enabling this art form to speak universally across boundaries of language and culture. Dance is prominent throughout history. Traditions of narrative dance evolved in China, India, Indonesia, and Ancient Greece. Theatrical dance was well-established in the wider arena of ancient Greek theater. When the Romans conquered Greece, they assimilated Greek dance and theater with their art and culture. While dance continued to be important throughout the Middle Ages, in spite of occasional suppression by the Church, ballet as a recognizable dance form did not emerge until the late 1400s, in Italy. While Italy may be credited with the inception of the ballet tradition, the French Dance Magazine Summer 2012
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Dancers are
stripped enough onstage.
Mikhail Baryshnikov You don’t have to know more about them than they’ve given you already. 30
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enabled it to blossom. Incorporating aspects of Italian ballet, French ballet gained prominence and influenced the dance genre internationally. To this day, the majority of ballet vocabulary originates from French.The word ballet itself comes from French, and was incorporated into English during the seventeenth century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Latin ballere, meaning to dance. Ballet has spread throughout the world, notably in the stagings of the Royal Danish Ballet, the Sadler’s Royal Ballet of London, American Ballet Theatre, the Australian Ballet, and more recently the China Central Ballet, Hong Kong Ballet, and the Ballet Company of the New National Theater of Tokyo, as well as the National Ballet Academy and Trust set up in India. The Korean National Ballet (founded in 1962), and more recently Universal Ballet of Seoul, have contributed to the popularization of ballet in Korea. The Universal Ballet invited Oleg Vinogradov, the artistic director of the Kirov Ballet for 22 years, to stage classics from the Kirov repertory starting in 1992, and as artistic director in 1998, thus introducing the Russian ballet style in Korea. The athleticism and virtuosity of modern ballet has won international recognition. Re-stagings of beloved ballets, as well as innovative modern dance, testify to the flexibility and vitality of the art. Dancers and choreographers constantly seek to explore new technical and dramatic frontiers, and international tours of dance companies and elite schools of dance confirm the continuing global appeal of contemporary ballet. Dance Magazine Summer 2012
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Ballet is like
rearc
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ching
for the sky.
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Indian Classical Associated Authors
The classical dances of India: Kathakali
most often the hero. The spectators can
Kathakali literally means story-play and is an
feel His invisible presence when the heroine
elaborate dance depicting the victory of truth
or her maid details dreams and ambitions
over falsehood.
through circular movements, delicate footsteps and subtle expressions. Through slow
A Striking feature of Kathakali is the use of
and medium tempos, the dancer is able to
elaborate make-up and colourful costumes.
find adequate space for improvisations and
This is to emphasize that the characters are
suggestive bhavas or emotions.
superbeings from another world, and their make-up is easily recognisable to the trained
The basic dance steps are the Adavus
eye as satvik or godlike, rajasik or heroic, and
which are of four kinds: Taganam, Jaganam,
tamasik or demonic.
Dhaganam and Sammisram. These names are derived from the nomenclature
Mohini Attam
called vaittari.
The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is
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The Mohini attam dancer maintains realistic
An artist’s best teacher is nature. One Step at a Time
Why do you need to go anywhere,
when nature is here.
Pandit
Birju Maharaj Dance Magazine Summer 2012
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Phototgraphy by Sharvari Kulkarni
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make-up and adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a beautiful white with gold border Kasavu
repertiore as we know it today was
saree of Kerala, with the distinctive white
constructed by this talented Tanjore Quartet.
jasmin flowers around a French bun at the side of her head.
Kuchipudi The dance drama that stil exists today and
Bharata Natyam
can most closely be associated with the
Bharata Natyam dance has been handed
Sanskrit theatrical tradition is Kuchipudi which
down through the centuries by dance
is also known as Bhagavata Mela Natakam.
teachers (or gurus) called nattuwanars
The actors sing and dance, and the style is
and the temple dancers, called devadasis.
a blend of folk and classical. Arguably this is
In the sacred environment of the temple
why this technique has greater freedom and
these familes developed and propagated
fluidity than other dance styles.
their heritage. The training traditionally took around seven years under the direction of
Bhagavata mela natakam was always
the nattuwanar who were scholars and
performed as an offering to the temples of
persons of great learning. The four great
either Merratur, Soolamangalam, Oothkadu,
nattuwanars of Tanjore were known as the
Nallur or Theperumanallur.
Tanjore Quartet and were brothers named `Chinnaiah, Ponnaiah, Vadivelu and
Odissi
Shivanandam. The Bharata Natyam
Odissi is based on the popular devotion to
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movement of the planets around the sun. It is said that when Krishna, Radha and the gopis danced the Ras Leela, Shiva made Lord Krishna and the verses of the Sanskrit
sure that no one disturbed the beauty of the
play Geet Govinda are used to depict
dancing. Parvati, the consort of Lord Shiva
the love and devotion to God. The Odissi
also wished to see this dance, so to please
dancers use their head, bust and torso in
her he chose the beautiful area of manipur
soft flowing movements to express specific
and re-enacted the Ras Leela. Hundreds of
moods and emotions.
centuries later, in the 11th century, during the reign of Raja Loyamba, prince Khamba of
The form is curvaceous, concentrating on
the Khomal dynasty and Princess Thaibi of
the tribhang or the division of the body into
the Mairang dynasty re-enacted the dance
three parts, head, bust and torso; the mudras
and it became known as Lai-Haraoba, the
The dance was taken to Muslim courts and
most ancient dance of Manipur.
thus it became more entertaining and less religious in content. More emphasis was laid on nritta, the pure dance aspect and less on abhinaya (expression and emotion).
Manipuri This dance style was originally called jogai which means circular movement. In ancient texts it has been compared to the Dance Magazine Summer 2012
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Indian Classical
is dancing
with the earth. 40
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Phototgraphy by Sharvari Kulkarni
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