The lush green premises of Shankaraa Foundation in Bangalore provides an ideal atmosphere for hosting Dance Jatre, the annual dance fair by Shambhavi School of Dance. Besides dancers who had gathered to participate in the competitions, the two-day fair mainly catered to the interest of dance enthusiasts eager to explore aspects of dance. The place came alive with dancers walking around the campus in colourful classical dance costumes, awaiting their turn, posing for the camera and more. Competitions, workshops, exhibition and sale of dance jewellery went on simultaneously in different stalls, providing visitors the feel of a ‘jatre’. About 12 workshops in classical, folk and contemporary styles were held in an open air theatre, where even visitors could attend the sessions.
Among 16 experts who conducted the workshop on aspects of movement, choreography and rhythm, was Manipuri exponent Priti Patel from Calcutta. Introducing her form to the participants, the recipient of Sangeet Natak Academy award said: “What highlights Manipuri over other classical dance forms of India is its living tradition. Despite the fact that it has evolved to become a stage art, its practice as a form of worship in religious spaces and ceremonies in Manipur has not ceased to this day.”
Continuing her conversation with The Hindu after the brief morning session, she adds, “on the flip-side, it becomes challenging for a choreographer to bring these ritualistic and deeply spiritual aspects onto stage that is bereft of the deity, devotees and aura of the temple.” Moreover, it entrusts immense responsibility on the practitioner in selecting suitable aspects while leaving out the rest. Volatile matters according to her should not be presented on the proscenium as it would cause further friction in conflict zones like Manipur. On how to decide what to include and what not, Patel explains, “gurus show us the path. Beyond that, a dancer’s experience in the art form will guide her.”
Priti Patel fine-tuned her art and took it to newer heights under the influence of acclaimed Manipuri writer Rajakumari Binodini Devi (whose 97th birth anniversary is next week). It was through ‘Imashi’, as she used to call her, Patel was introduced to customs and beliefs of Manipuri. “I absorbed a lot from her worldview and my dance would not have looked the same without her nuanced guidance,” explains the senior Manipuri danseuse under whose direction Anjika dance troupe stages its mega productions.
Having mastered not only Rasleela but Thang-ta, martial arts of Manipur and Lai Haroba, ritualistic dance in the glory of Manipuri gods, she observes: “Manipuri underwent changes during the advent of the Vaishnavite cult which introduced Sanskrit literature to the art form, however, the technique has remained the same throughout.”
“Manipuri might look like a South-east Asian dance form for an uninformed audience, more so because Manipuri dancers have Mongoloid features which gets reflected in their postures. However, its spirit and content is Indian,” she states.
Manipur has been under strife throughout and without reflecting on its situation, according to her, is like dancing in vacuum. “One cannot dance without thinking. Dance is region-specific and if the region that has shaped the art form is under constant struggle, art gets affected naturally,” she feels. Patel who has engaged with contemporary scenarios through her art, has centred her production Khuman: The Black Sun, on the consequences of men resorting to violence. “I dedicated this production to one of my students who lost his life due to the violence in the region,” she recalls.
Does art play a role in bringing about peace? “Honestly, I do not know as this does not come under my purview. All I’ve tried to do as an artiste is to send across a message,” she responds.