Indian govt has no plan for crisis-hit artists: Anindita Anaam

She is the first Indian classical dancer to be chosen as the Secretary, for Wisconsin Dance Council Board and actively engaged in propagating the dance education in the state of Wisconsin through workshops, talk show, masterclasses, and performances. Recipient of the prestigious Jayadev Rashtriya Puraskaar, Bidagdha Nartaki Samman and National Nritya Shiromani. Anindita Anaam, a leading exponent of Kathak dance and a voice for South Asian Arts, is also the Artistic Director of SARGAM School of Music and Dance based in Delhi NCR India and Wisconsin, US. A disciple of doyens of Jaipur and Lucknow schools of Kathak, Pandit Rajendra Gangani and Pandit Jai Kishan Maharaj, Anindita is known to focus more on movements and geometric aspects of Kathak, and well known for her performances on world fusion music and Indian classical string instruments.

Speaking to BizzBuzz exclusively from Wisconsin, Anindita spoke at length on wide ranging topic- from pandemic impact on live performing artists, acceptability on Indian classical dance forms, fusion format to ways of popularising Indian classical dance forms

How badly has the live performance industry been affected in the last one year due to global pandemic?

The impact is huge! Across the spectrum, artistry and creative endeavours have experienced visible economic setbacks, loss of jobs, and immense penury from Covid-19.

Artists from the developing nations are trying to make their both ends meet and looking for immigration opportunities outside. We've also tried to help struggling ones in India, the folk artists in particular, who have no other skill than their musical training. The online shows have failed to generate sustainable revenue which is insufficient to compensate the artists adequately. The Indian government has no plan of action to help this sector which is reeling heavily under the strict mandates of gathering in public theatres and exhibits. Cancellation of foreign shows has completely jeopardized the income sources.

Hopefully, with more vaccination drives in place, the restrictions could be lifted up, but the damage is done already, and a lot of young artists are afraid to take this as a career option, because of the uncertainty involved.

You have been performing across many parts of the world. How do you see Indian classical dance forms gaining acceptability and ground across the world?

Indian music and dance is loved by global audience. Thanks to the world of social media and music apps, our audience has grown many folds and Indian music has found a firm ground in many parts of the world. However, the categorization of Indian music in classical and commercial moulds is unknown, and sometimes used interchangeably. For example, some random diversity organisation may approach me to take a class on Bollywood and then I usually correct them by saying I am not a Bollywood dancer but an Indian Classical Kathak Dancer. So, these boundaries are yet to be explored and the differences between classical and lighter Indian music is yet to be chalked out. The burden of this thin line falls on the artist. This part of the world has no idea that there are 8 ancient Indian classical dance forms, and how each one of them are distinct from one another. Artists in the US and Canada are exploring many creative and engaging angles of Indian arts, however a lot more could be done to bring our arts at parity with their mainstream counterparts.

Is the younger generation - non-resident Indians and/or foreigners getting attracted to Indian classical dance forms?

In short Yes. The NRI kids have long ignored the Indian arts, but with global call for diversity across fields, there has been a paradigm shift in preferences even in the younger generations of NRI kids. During my exposure with Indian Raga artists, I was so pleasantly surprised to meet a diverse pool of musicians, singers, and dancers born and raised in the US, Singapore, and Canada, one who cannot speak their native tongue, but when they were on stage, you will be mesmerized and speechless with their performances, dedication, and high level output of their recital. It is mind-blowing to observe how well they have adopted the cultural part of it. In one of the temples, I saw a young violin player speaking in perfect American accent giving presentation on Raga Kirwani, or another young fellow singing flawless carnatic or Hindustani vocal, and young high-schoolers doing todas in Kathak, spinning with finesse, and picking up Adavus in Bharatanatyam, and showcasing the Navrasas like a breeze. They have learned to balance their arts, and due to their foreign upbringing, they are a pro in packaging their arts in a way that could attract the audience to their public performances.

What is your take on fusion forms?

Many people have very different opinions about 'what is fusion' and how far we can experiment to retain the beauty without damaging the authenticity. Indian musicians are the pioneers of fusion music and literally have paved the way for our music to find a global foothold. Right from Pandit Ravi Shankar and George Harrison association, 'Sitar' found a place on the global map followed by Grammy award and nomination for 'Mohan Veena' (which is a cross between Veena strums and Hawaiian guitar) and so on. Popular artists are continuously experimenting with their instruments to diversify and increase their international musical footprint and exposure by mixing their composition with advanced percussion and western instruments.

Sadly, when it comes to Indian dance, we suddenly become narrow-minded. When I started performing, I could see that there are not many takers of Indian art forms in their traditional structure. It is not that the people do not enjoy these arts, but the initial response is not great! Linguistic barriers and unfamiliar narratives further alienate the local audience as they are unable to understand and connect with your traditional art form. I have tried to use Indian fusion music and the melody of the ragas combined with precise and fast paced Indo-Western percussion does the trick. And when you combine the same with the dance form, it works like a charm. Since I use music without words, the feeling is 'immersive' and the audience experience the movements flowing seamlessly with mellifluous lounge quality tunes, resulting in a perfect marriage between my dance and the Fusion Ragas.

What needs to be done to further popularize Indian classical dance forms across the world? Is it the physical fitness aspect or the sublime philosophy and beauty of Indian classical dance that should be highlighted more to draw the younger generation?

You have touched upon very crucial aspects of Indian dance forms which may either make the art flourish in the right direction or doom it forever.

Indian classical art forms are full of emotions which explore human nature. This part is by and large missing in other classical arts across the world. Our forms have delved deeper to experience different desires felt by our inner soul and have a certain degree of spirituality.

When we portray a strong character like Durga- we are alternating the moods between Rasas exploring the various feminine sides of the Goddess - from Raudra to Shringaar in a single setup. A dancer is capable of shifting her facial expressions within moments from anger to calmness, nurturer to destroyer of the worlds. This kind of insightful emotional portrayal using face and body movements in colourful costumes works in perfect harmony. Something so hard to find in other dance forms, thus giving a distinct identity to Indian classical arts. A tradition where each dancer looks like a sculpture straight out of temple walls. It is mystique.

However, in order to retain its popularity, there is a heightened need of sincerity and support for 'merit' over favouritism in this industry. There is a huge influence of big names in promoting their meritless kids and family members.

The low quality of training in the subsequent family members of the big names results in low grade recitals and renditions, and it is the 'art' which suffers the ultimate demise in the hands of their poor perpetrators. Famous dancers fail to maintain a good weight and perfectly shaped bodies (both male and female) which is so essential for the purity and quality of the dance forms which make them appear so out of shape on stage.

The old artists are not letting the younger generation of artists thrive pushing the talented ones to the world of depression,and short careers. If you observe, you will find that all the popular names are progeny of established career musicians and very well connected. In all respects, talent takes a back seat and that is what has infested our art forms in every which way. Government needs to include a neutral panel in the selection and awards committee to stop this ongoing nepotism and corruption.

Ultimately art survives with quality, and a dent to that would be fatal for the future of Indian performing arts. Guru-shishya Parampara believes in supporting the right artist but this tradition has become manipulative and unprincipled. Favouritism and family hierarchies at every level is threatening our Indian performing arts.