When
it comes to extremely abstract and subtle things like dance
and music, which literally have no physical existence and
are only a matter of a phenomenon being perceived or heard,
the problem becomes highly complex. What we finally receive
is that which has been filtered through our cultivated aesthetic
taste. Thus, people who have heard and witnessed a particular
art form, becoming steeped in it as it were, tend to judge
any other art form by their already canalized and set norms.
Any deviation from these set standards does not seem to
register. No wonder audiences in Manipur oft times find
no variety in non Manipuri dances while others outside Manipur
steeped exclusively in some other dance concepts, find Manipuri
monotonous. Yet the fact remains that each Indian classical
dance form rich and varied in its own right.
In
a sophisticated art form there are various hidden aspects
other than what we are manifested on the Surface. The depth
and richness of this dimensions besides what is revealed
outwardly reveal the classicism, sophistication, intellectual
and aesthetic cultivationof a tradition rather than its
conformity to one book or another, which is secondary. This
is also an element, which singles out the highly stylized
dances from the simple folk and community dances and those
meant for sheer entertainment only. The present article
is an attempt at investigating some interesting facts of
this tenuous yet real part of Manipuri dances, which we
shall refer to as the other dimension in Manipuri.
Technical
complexity and sophistication are important in the assessment
of a dance form. But there is another dimensions in which
indirect and hidden forces penetrate much deeper than the
obvious and these pulsation go closer to the concept of
the fourth state of the transcendental area or mine. Only
a highly developed technique when rigorously practiced and
fully mastered, can raise the mind to a very high level
of aesthetic consciousness and freedom. It then becomes
a discipline free of the primary disciple.
This
concept of transcendence is of course different from the
symbolism of the orthodox Manipuris of our time who are
more concerned with the formalities of the story, and the
letter of the law as found in the Ras lilas. Here the accent
is on sentimentalism associated with Vaishnavism.
Attempts
have been made in Maniour to transplaint this bare sentimentalism
to the modern thater. Such productions buttressed with ostentatious
traditional veener are aimed at appealing to the susceptibilities
of the Manipuris. They have little or no aesthetic content
leave alone aesthetic transcendence. The other dimensions
less beyond the mathematical calculation of the dance and
sentimental association with ours gods and kings.
The
vaishnavite philosophy with its romantic spiritualism found
ready acceptence in the already existing lyricism of Manipuri
tradition. It did indeed set in motion a whole process of
culture revolution, which enriched Manipuri dance and music
tremendously. But what we commonly find today is an attempt
to hang on to the outer routine devoid of its initial spiritual
motivation. Notwithstanding the fact that Manipuris are
still a deeply religious people and natural born artistes,
dance and music, more often than not, have become mere rituals
and not aesthetic spiritual manifestations coexisting but
not coalescing.
RHYTHMICS
Let
us begin our investigation with rhythm, initially a mathematical
routine; it should be easier to show the change from the
measured to the infinite and abstract in this, an aspect
which cannot be measured but whose presence is felt. In
a simple rhythmic cycle, a certain length of time is divided
into regular and irregular portions and the process repeated
again and again. It is set pattern suspended in time. Time
is measured in length, but in the actual rhythmic process
we feel time not as length but as weight as expressed by
the mental pendulum.
Manipuri has a tremendous wealth of rhythmic
variety, but the present investigation aims at highlighting
the rhythmic points, which are suggested but not expressed.
The dimension in rhythm is a peculiarity of Manipuri. The
feet oft times neither land or lift at the precise rhythmic
points, yet this points are very forcefully expressed in
Manipuri dance terminology, these are called rhythmic points
at the knees, ankles etc. and the ascent is on these places,
not at the time the feet touch the ground, which in this
cases is usually before or after the point. Likewise, many
jumps express rhythm while flying in air and not landing.
Because of this abstraction, ankle bells can never be used
to express the subtlety of Manipuris rhythmic and will prove
a hindrance.
There
is a further abstract dimension of rhythm, which is indirect
and not even suggestive. It is so subtle that normally one
may not even be aware of it. All those familiar with the
Manipuri Pena singing are acquainted with the insertion
of free-spoken words between the sung lines. The words are
not rhythmic syllabus but this particular juxtaposition
creates a happy rhythmic situation. The same is true of
the sudden outburst of a free (i.e. not tied to a time cycle)
drumbeat in the rhythm-free portion of the Khongjom Paba.
It also occurs in the abstract but meaningful punctuations
of the Manipuri storytellers, as well as the purposeful
rapport of the Lairik-Thiba-Haiba artistes. It will thus
be seen why the Pena and drums were traditionally not paired
together as both these are based on different concepts of
the rhythms-one abstract and the other calculated.
When
it comes to the classical dances of Manipur, these dimensions
exist in most intangible manner. Often it is difficult to
extract the essence from the matrix. A simple example is
the ending hand pose in Pung Cholom where the drummer lifts
his right hand. This is an extension in space and time beyond
the measured rhythmic areas in calculated Cholom composition.
Another example is the manner in which the drummer lifts
his Pung and runs forward before the actual Cholom. There
are, however, so many nuances of the other dimensions, which
cannot affectively be expressed in terms of words.
MAIBI
Our
concepts of rhythm is so bound by our drum oriented timing,
that we fail to appreciate the finesse of the language of
Pena rhythms. One of the main dance forms performed to the
accompaniment of the Pena is the Maibi dance. The very concepts
of the Maibis and their dances are different from the commonly
understood idea of dance even in the form of worship. Maibis
are unlike Devadasis in the temples of other parts of India,
are singled out and ordained by choice. Their dances often
go beyond a mere ritual. Whereas the ritual is a pre-calculated
formal routine, the dances and actions of Maibis are dictated
by supernatural force. It is thus evident that the Pena
with its bells to keep rhythm is the most suitable accompaniment
for the unpredictable spontaneity of the Maibis. In trying
to conform and restrict them to the beat of a drum the intangible
dream like movement of those dances would be lost. The Maibi
dances extend into the realm of the world beyond our own.
Here the spiritual contact of is such that while holding
one end of this tenuous strand, we do not know where the
other end lies. This is an approach, which is not built
upon the whipped up sentiment of the religious theme or
mythology.
MOVEMENT
AS AN INDEPENDENCE MEDIUM OF COMUNICATION
When
the word came into being, with its evolution and expansion
into the languages of mankind, the horizons of the human
mind expanded. Yet paradoxically, it also limited many other
chambers of human experiences operating beyond the realm
of words as thought became synonymous with words. Due to
this, our other faculties of communication little used,
were dulled.
A certain combination of sound and movement
can give such forceful expression to a hidden mood, which
may be quite outside the range of words. The potency and
power of the written words as a means of communication is
unquestionable, and attempt here is only to investigate
other avenues of epression.
Movement
in dance should experience, seen and understood not necessarily
dependent on word expression i.e. the translation of work-thoughts
into movement. There are many shades of human feeling for
which movement can provide apt expression. It works on many
levels a body stance, a certain way of turning, can convey
volumes without resorting to words or facial expressions
there are many such fine distinction of human experience
or which no one medium can claim to have absolute mastery
of communication. The media of movement, sound and colour
are potentially unlimited fields and at a higher level of
consciousness can often be translated from one into another.
Eventually it is a vibration or frequency that matters,
not the gross reality.
A
combination of various sound values of the drum suggests
movements to the mind of the creative dancer. He is compelled
to give form to this sound through the medium of his body.
In a manner of speaking, he not only hears sound but sees
it. This interplay exists between many mediums and other
translation of one into another depends upon the versatility
of the artiste.
OPTICAL
ILLUSION
In
the same way in which optical illusion play an important
part in painting suggesting various dimensions to a flat
surface there are also illusory effects into sound and movement.
A
good example of this sound can be found in Manipuri Sankirtana
singers. In attempting high note beyond their normal vocal
range, they use a falsetto. When even this is not adequate
they resort to a clever manipulation of voice ending and
index finger pointing upwards clearly indicating the non-existent
desired not which the audience can hear by implication.
The storytellers too, create this sound effect by subdued
voice control when giving the impression of calling for
someone far away. In reproducing the voice as would have
been heard at the receiving end, by implication the sound
of a full-throated loud calling voice is created.
One
can actually look bigger or smaller depending on the attitude
and movement one employs. A small 'Duhar'(Main dancer in
a Sankirtana) leading a line of dancers must taller than
himself can still create and impression of great height
and power through the manner in which he moves and feeling
that infuses him. In certain jumps and leaps by a complicated
manipulation of body movements and timings, one can give
the impression of staying longer in the air than what one
actually does.
AESTHETIC
CRITERIA
It is my belief that a aesthetic criteria
is the product of centuries of accumulated habits and thought
of a certain people. Out of this there emerged the visible
forms, which we call the arts and their techniques will
remain sterile and fallible unless one can absorb the spirit,
which gave it birth, for it, is this, which provides the
aesthetic criteria.
If
the essence of a tradition does not conform to certain generally
accepted forms, it is these very characteristic which must
be emphasized. It is this self-same difference, which gives
the style its own identity. Ours is an 'inward looking'
dance form in which total absorption builds up from an inner
central force. Spreading in concentric circles it outward
the expression of Abhinaya is a reflection of the emotion,
which moves the dancer from time to time - a product of
immense control and cultivation.
So
far we have dealt with subject only on academic plane. However,
in actual learning of the art, the student is not likely
to come across the subtle dimensions until he gains a level
of proficiency. To most students the concept of dancing
which limited only to the actual dances composition i.e.
the external tangible reality. Until the teacher himself
has the deep inside and perception to widen the mental horizon
of the student, most of these students will go through their
careers without ever having experienced this dimension.
Subsequently, not having known this subtle force their communication,
no matter how proficient, will be restricted only to the
mathematics and grammar of the dance and thus devoid of
its living essence.
This
force is in fact comparable to the super-normal experience,
which one comes across in Yoga, which the Kundalini arises
upward through the Charas-a Sadhana of a very high order.
Courtesy:-
Manipuri State Kala Academy, Imphal.
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