Art knows no barriers

CULTURAL RENDEZVOUS: The dancers who participated in ‘Shifting Grounds.' On the extreme right are my Gurus Anusha and Narendra Kumar

An article by SAVITHA GAUTAM in THE HINDU that features my Gurus

Artists from three continents came together for ‘Shifting Grounds’, a music-dance creation, performed in Germany.

Lalgudi G.J.R. Krishnan is bubbling with excitement these days. The reason? His recent success in Germany where he participated in ‘Shifting Grounds,’ a music-dance production put together by the University of Cologne under the leadership of producer Prof. Dr. Hans Neuhoff of the Cologne University.

The shows, held during May in three German cities (Cologne, Düsseldorf and Aachen), were supported by DAAD (German Academic Exchange Service).

“This is the first time, musicians and dancers from three continents — Asia, Africa and Europe — have pooled their talent to create a production that talks of life, human emotions and the art of communication,” says Krishnan, sitting in his T. Nagar home.

‘Shifting Grounds’ is the culmination of one and a half years of intense discussions and two months of rigorous rehearsals. Eight 90-minute shows were presented with 20 artists from Europe, West Africa (Senegal and Burkina Faso) and India (most of them were in Germany under the DAAD Fellowship programme) showcasing their talent.

The team

The production was conceptualised and produced by Hans, while music was composed by fellow professor and pianist Paulo Alvares and choreographed by Vera Sanders, also from the Cologne University.

The Indian flavour was provided by Krishnan and his violin, Ghatam V. Suresh, and dancers Anusha, Narendra Kumar and Sangeeta Isvaran.

On the genesis of the project, Hans in a telephonic conversation, explains, “The theme has its roots in the RASA theory of the Indian arts. It deals with the basic emotions of Man which can be expressed in many ways and yet, is universal. ‘Shifting Grounds’ is also about trans-cultural communication where non-verbal art forms are effectively employed to convey human emotions.”

Paulo shares similar thoughts. “The key words in this production are ‘contrasting’ and ‘shifting.’ ‘Contrasting’ because in the beginning, everything is so different — the styles, the traditions and even the language of expression. But finally, there is only one thought, one emotion. ‘Shifting’ because the styles literally move from one to the next in a smooth, harmonious manner.”

The stage for ‘Shifting Grounds’ was shared by two pianos, a violin and various percussion instruments.

The music was an eclectic mix of Western classical notes, Carnatic ragas and African rhythms. Says Paulo, “Believe me, we did not have a score at all! The music was in my mind. I allowed each musician the freedom to explore within a framework. That’s how the music evolved.” Paul, not familiar with Indian music till then, discovered “new sounds, rich cultures and different ways of thinking musically.”

The ragas represented

Talking about his musical contribution, Krishnan says, “I played snatches of such grand ragas as Varali, Vachaspati (‘Hans specifically requested it’), Revagupti and Kalyanavasantham. The Vachaspati raga alapana was the longest at 10 minutes! The raga suited the mood of the dance movements which express peace and calm.”

Hans, who studied under Lalgudi Jayaraman years ago, says, “Krishnan’s piece was the only sustained melodic sound in the whole production. his playing has won him many fans.”

For both Krishnan and Suresh, the German sojourn was a fun-filled learning experience.

Recalls Krishnan, “On the first day of the rehearsal, I did not know anybody except fellow Indians. Also, most of the others did not know English. But once I picked up my violin and played, the differences simply faded. Clichéd it may be, but music truly transcends barriers.”

Suresh adds, “There were some instruments which I had never seen before. Similarly, the African drummers were curious about the ghatam and the thavil. During the two months we were there, we were like one big family.

“In fact, Krishnan and I had to share an apartment with Fatou Cisse, a singer from Senegal. We had a fabulous time, trying out new recipes and learning French words. And yes, we taught her Tamil words.”

Talking about her role, Vera Sander says, “I spent two weeks in India trying to understand the various classical dance forms. I learnt about the mathematical precision, rhythm patterns and phrasing of Indian dances as also the strong link between dance and music.”

Her challenge was to create something which linked diverse styles without losing the distinct identity of each. “It was quite a challenge because we had to move away from the individual and find a common ground. In the end, what mattered was how effectively the movements conveyed the emotions…”

Will ‘Shifting Grounds’ find an Indian audience? Hans rues, “It is an expensive proposition. I do hope to take it to other parts of the globe.” But how? That remains to be seen.

(This article appeared in the Friday Review of The Hindu dated June 19, 2009)

Centre for Cultural Resources and Training

The Centre for Cultural Resources and Training

The main function of the Centre for Cultural Resources and Training (CCRT) is to conduct a variety of training programmes for in-service teachers drawn from all parts of the country. The training provides an understanding and appreciation of the philosophy, aesthetics and beauty inherent in Indian art and culture and focuses on formulating methodologies for incorporating a culture component in curriculum teaching.

This training also stresses the role of culture in science and technology, housing, agriculture, sports, etc. An important component of training is to create awareness amongst students and teachers of their role in solving environmental pollution problems and conservation and preservation of the natural and cultural heritage.

The Centre for Cultural Resources and Training (CCRT) also organizes various educational activities for school students, teachers and children belonging to governmental and non-governmental organisations under its Community and Extension Feedback Programmes which includes, educational tours to monuments, museums, art galleries, craft centres, zoological parks and gardens, camps on conservation of natural and cultural heritage, camps on learning crafts. These educational activities emphasize the need for the intellectual and aesthetic development of the students.

The Centre for Cultural Resources and Training (CCRT) organizes academic programmes on Indian art and culture for foreign teachers and students. Workshops are conducted in various art activities like drama, music, narrative art forms, etc., to provide practical training and knowledge in the arts and crafts. In these workshops, teachers are encouraged to develop programmes in which the art form can be profitably utilized to teach educational curriculum.

Over the years, The Centre for Cultural Resources and Training (CCRT) has been collecting resources in the form of scripts, colour slides, photographs, audio and video recordings and films. Each year the CCRT’s documentation team conducts programmes in different parts of the country with the objective of reviving and encouraging the art and craft forms of rural India which can be used for the preparation of educational programmes for disseminating information about India’s culture to the student-teacher community. Some of the resource materials are used during teacher training programmes of the CCRT. These are distributed as part of the Cultural kit (sub link) and other productions free of cost to schools from where teachers have received training from CCRT.

The Centre also prepares publications which attempt at providing an understanding and appreciation of different aspects of Indian art and culture. These publications also highlight the influence of nature on artistic expressions so as to create an understanding of the impact of ecology on cultural manifestations.

One of the most important functions of The Centre for Cultural Resources and Training (CCRT) is to implement the Cultural Talent Search Scholarship Scheme. The Scheme provides scholarships to outstanding children in the age group of 10 to 14 years, studying either in recognized schools or belonging to families practicing traditional performing or other arts to develop their talent in various cultural fields particularly in rare art forms.

The Centre for Cultural Resources and Training (CCRT) has also instituted CCRT Teachers’ Award which is given every year to selected teachers in recognition of the outstanding work done by them in the field of education and culture.