The long and the short of IPL and bharatnatyam
Could agility be getting the better of artistry in the modern versions of both cricket and classical dance?
Classical dance and cricket – is there indeed anything in common among the two, apart from the fact that they both start with the letter ‘C’? I was watching an Indian Premier League (IPL) match after almost two years and observed uncanny similarities in the way cricket has evolved (devolved?) over the past decade and the changing trends in Indian classical dance.
The first obvious similarity is that both are shorter than ever before. A traditional bharatnatyam performance, previously performed at a leisurely pace for 2-3 hours, now lasts for only 30 minutes (50 if you are lucky), and is quite often sandwiched between a music performance or another short dance performance. Similarly, with the T20 format, one finds a typical match completed in just a few hours, where a one-day match would actually be spread over a full day. Moreover, these few hours are not dedicated to cricket alone. There’s a DJ playing music, cheerleaders dancing, and Bollywood celebrities waving . These trends are perhaps a reflection of the fast pace of urban living where everyone is perpetually in a ‘what’s next’ mode.
You also see a frenzied approach: a cricket match is a do-or-die situation in which you find aggressive playing – you either hit out or get out! A similar frenzy is apparent in classical dance today, where you find dancers desperately trying to fill their short performances with leaps, jumps and circles (chakkars) to capture the attention of the audience. Consequently, fitness and body training is not an option any more, it’s a selection criterion for entering – and staying the course – in both these professions. This is good because players have become fitter. This is good for the sport. And the same holds true for dance.
This increased athleticism in cricket and dance has the potential to create an enhanced visual experience for audiences, but this often doesn’t happen because it is most often not complimented with a better use of the mind.
This was not how classical Indian dance used to be a decade or two ago. There used to be more improvisation, with subtle nuancing that came with spontaneity. As a result of changing trends, we find certain art forms dying. For instance, in dance, while agility has energised the nritta or pure dance, the subtle abhinaya or art of expression, is languishing for want of creative sustenance.
We must inspire Gen-Next to enjoy the process of learning these creative pursuits. We should look at building institutions, formats and frameworks to help students build their skills and talent and most importantly, help them innovate, while still retaining the core elements of these beautiful forms.