Engaging with the rasikas

Engaging with the rasikas

Parshwanath Upadhye is a highly sought-after male Bharatanatyam artist from India. Not just that, the versatile Indian classical dancer, who was chosen for the prestigious Bismillah Khan Yuva Puraskar (2017), by Sangeet Natak Akademi, is a black belt in Karate and also a swimmer!

The multi-talented man, who will be performing in Pune for the first time, under the aegis of Nrityayatri Art Movement Foundation, shares with us his thoughts on being a male dancer, training under his various gurus and more...

Male dancers, especially in Bharatanatyam and Kathak, are noticed for being an exception. Do you have any advice for upcoming male performers, about using their body on stage?
Male or female, the basic training in the respective art form has to be strong. Let the Guru decide what is good for you, at least in your initial years of training. By the initial training years, I mean at least 10 years. Basic training is more than just being able to do adavus (basic steps in Bharatanatyam) with perfect geometry. It is more than the stamina or looking good on stage. When that happens, people will look at you as a dancer and not as a male or a female dancer. That is when the dancer becomes dance. You should yearn to engage your audience in your art form rather than in your appearance.

You have learnt under Ravindra Sharma, Kiran Subramanyam, Sandhya Kiran and Sudharani Raghupathy. As a student, how do you relate to their teachings, techniques, and is there any dominant influence of one particular teacher on you?
We need to understand that each Guru is an artist and a human being first. Not only their teaching but also their personality and approach towards the art form influences the students immensely. 

Sharma sir taught me to be humble and explore without any boundaries, whereas the Kirans taught me the traditionally rooted approach towards the art form. Sudha aunty as my Guru has shaped me as a complete artist today. My salutations to all my teachers.

You have lived in Belgaum and then in Bengaluru. Can you tell us something about the audience for Bharatanatyam performances down south, up north and in Maharashtra, Pune specifically? Is there any specific that you do as a dancer keeping in mind the audience’s taste or understanding?
Each city in India and abroad has rasikas of different taste. The awareness about the possibilities and benefits of the art form is still untapped in many areas within India. Hence it’s important for the artist to know his audience. When I used to learn and perform in Belgaum, Sharma sir used to take me to different villages as part of dance festivals conducted by the cultural departments. The way he used to adapt and cater the audience really amused me and it has definitely influenced me.
 
Similarly the rasikas of Bengaluru or Chennai, where Bharatanatyam has grown many folds, demands sound grounding in your traditional approach in the presentation. I am someone who will always perform for the audience. 

Though many themes are universal, I have always tried to incorporate local flavour and language that can be easily followed by the rasika into my repertoire. All said and done, one should strive to connect with the audience on the emotional grounds rather than just passing on the information through hand gestures.

This is my first live solo performance in Pune. Considering the rich cultural heritage of Pune, I have been working on the best that my art form can represent.

In one interview, you have been quoted as saying - ‘Bharatanatyam, as a dance form, does give a dancer the scope and freedom to try different proportions and to find a balance between natyadharmi and lokadharmi’. Can you explain concepts of natyadharmi and lokdharmi and how you try to achieve the balance between the two?
Natyadharmi is the rule of Natya or simply dance. Without which Lokadharmi or the Rule of mind can’t exist. A singer will not sound good no matter how many beautiful sangatis or the swarabhed he does, if he is off the sur and taal.

Bharatanatyam is a more than a medium of communication or mere story telling. This form was used for temple dance and ritualistic purposes before. But the sanity of the art form doesn’t rest in maintaining the age old purpose but in presenting it aesthetically fitting the traditional values of our culture.

At the same time, I caution the younger generation just because Bharathamuni said art needs to change according to time, please don’t change it according to your convenience.

ST Reader Service 
Nrityayatri Art Movement Foundation, presents ‘An Evening of Bharatanatyam’ with performances by Parshwanath Upadhye and Neha Mondal Chakravarty on February 28, 6 pm onwards at MES Auditorium, Mayur Colony

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